Loading the content...
Navigation

6.5×9.5 in. Amy FINKELSTEIN [photograph] 10 Jan 2013

Return to Previous Page
Description

Description

“My work process involves photographing fields of matter and discovering what these fields, within the structure of this media, can potentially yield. Recently, I have been working with India ink applied to translucent drafting film, which is hung and backlit for photographing. I shoot with an 8×10 camera and print in a traditional color darkroom. The subject matter is not a construct of previously sketched and carefully rendered images. It is rather a documentation of collaborative happenstance with material and mark, and with the catalytic ability for photography to shift this literal matter into potential notions of reference.

Photographs now seem as abundant as words, taken in as a grammar or code. My work has become a sort of code, or formal system in my mind: reducing infinite subject-hood to simple planes of matter to be photographed and perceived. I am intrigued by the impulse to comprehend and read this language, and am informed by the context and image body we bring with us to any one photographic object or lens based gesture. Considering all we bring, I tend to eliminate much, reducing the photogenic possibilities down to a blank sheet of drafting film, ink, and a discipline with analog photography. From this place of uncertainty comes some sort of measurable mark. The camera takes it, and we take the image. For my thinking, the process is no longer about specific idea or creative gesture, but about certain distances of form and media yielding to potential.”

More Info

Additional information

Artist

Color

Is Autographed

Media Type

Product Group

Size

Related Products

11×11 in. Unframed Mark Hartman Untitled Billboard No. 2

Looking like an abstract painting, these images are actually shredded billboards found in Panama. When workers shred expired ads what remains is often a beautiful chaos of color, shape, and pattern. Hartman was attracted to the ever-changing shapes, and c

7.5×9.5 in. Amy FINKELSTEIN [photograph] 16 Jan 2013

"My work process involves photographing fields of matter and discovering what these fields, within the structure of this media, can potentially yield. Recently, I have been working with India ink applied to translucent drafting film, which is hung and backlit for photographing. I shoot with an 8x10 camera and print in a traditional color darkroom. The subject matter is not a construct of previously sketched and carefully rendered images. It is rather a documentation of collaborative happenstance with material and mark, and with the catalytic ability for photography to shift this literal matter into potential notions of reference." Read more in the description below.  

30×40 in. Adam Rankin Sarah

The Moving series is a set of portraits taken in the weeks leading up to the sale of the family home. In each portrait, the subject floats above and through a shared memory, heading towards something new and undocumented, collectively redefining what the idea of home and family is becoming.Moving was shot in Edmonton, Alberta in the summer of 2005. The 5th member of our family, the red canoe, has been around as long as I have. Oddly enough, it has never seen the water and was sold shortly after theMoving series was taken, along with the family home. This particular image was shot in a shopping mall parking lot close to our family home. The mall has since been demolished and is now a bunch of condos. Both my sister and I spent a lot of time there over the years. On shoot day, my Dad was on lighting and grip and my Mum correlated film. The canoe was shot on location supported by scaffolding.
$ (as of June 5, 2017, 5:17 pm)1,000.00 (as of June 5, 2017, 5:17 pm)

12 x 18 in. Raymond Ciborowski Citrus Promenade

Raymond Ciborowski, Citrus Promenade, 2011

24×36 in. Katherine Gendreau NYC 1963

A vintage 1963 New York City subway train.

Aerial Mosquito Attack, Collier County, Florida, 1981

Available in 12x17.5 (17x22 Total Paper Size) = $2,350 Unframed 15x21 (18x24 Total Paper Size) = $2900 9x13 (11x17 Total Paper Size) = $1,500 Unframed
$ (as of June 5, 2017, 4:28 pm)2,350.00 (as of June 5, 2017, 4:28 pm)

20×24 in. Adam Rankin Eric

The Moving series is a set of portraits taken in the weeks leading up to the sale of the family home. In each portrait, the subject floats above and through a shared memory, heading towards something new and undocumented, collectively redefining what the idea of home and family is becoming.Moving was shot in Edmonton, Alberta in the summer of 2005. The 5th member of our family, the red canoe, has been around as long as I have. Oddly enough, it has never seen the water and was sold shortly after theMoving series was taken, along with the family home. This particular image was shot in a shopping mall parking lot close to our family home. The mall has since been demolished and is now a bunch of condos. Both my sister and I spent a lot of time there over the years. On shoot day, my Dad was on lighting and grip and my Mum correlated film. The canoe was shot on location supported by scaffolding.
$ (as of June 5, 2017, 7:54 am)500.00 (as of June 5, 2017, 7:54 am)

Oranges, Box and Painting on Door

John Chervinsky is fascinated by the scientific principles that govern our existence - in this case the concept of time. Oranges, Box and Painting on Door is from the series Studio Physics in which Chervinsky sets up his still life, photographs it, and crops a subset image which is then sent to a painting factory in China and painted by an anonymous artist. The painting is mailed back to the Chervinsky, who reinserts it into the original still life and re-photographs it. The final image shows the painting and the still life which has remained untouched during this experiment and documents the marking of time. Next available edition number is 12/15 International shipping available upon request. Please contact the gallery for rate quote.
$ (as of June 5, 2017, 4:28 pm)2,400.00 (as of June 5, 2017, 4:28 pm)

16×20 in. Unframed Martyn Thompson Alien – Light Blue

In Martyn Thompson’s alien series, these jellyfish are transformed into other worldly creatures, existing as repetitious form in a floating abyss. The series contains a varying palette of blues and grays, recalling the range of tones in the natural sea environment. Interestingly, the form changes very little from image to image, yet the overall feeling the image conveys is quite dramatically different, depending on the color scheme. In this image, the dark, rich blue imparts a certain feeling of depth, as if the viewer is peering into a deep, oceanic world. -Luster Fine Art Prints

The World Is Not My Oyster

This is an exemplary work by the artist, it will be a stunning addition to any space.
$ (as of June 5, 2017, 5:17 pm)1,500.00 (as of June 5, 2017, 5:17 pm)


Follow Us

Back to top