Untitled (02.1)

Uta Barth
Untitled (02.1)
2002
Vogue Hommes

Vanessa Beecroft
Vogue Hommes
2002
Pile (Stapel)

Thomas Demand
Pile (Stapel)
2001-2002
Jökulsgilskvisl

Olafur Eliasson
Jökulsgilskvisl
2003
Joey in my mirror

Nan Goldin
Joey in my mirror
2002
Universitätsbibliothek Hamburg A

Candida Höfer
Universitätsbibliothek Hamburg A
2000/02
Sunset 1 and Sunset 2

Axel Hütte
Sunset 1 and Sunset 2
2002
Walking

Alfredo Jaar
Walking
2002
#3839/#3561

Bill Jacobson
#3839/#3561
2000-2002
Untitled #1 and #2

Malerie Marder
Untitled #1 and #2
2001
Exposure #1 2000

Barbara Probst
Exposure #1 2000
2002
Zeitungsfoto 071, Sterne 22h 24m / -20

Thomas Ruff
Zeitungsfoto 071, Sterne 22h 24m / -20
2002
Apples, Red Hook, NY, 2001

James Welling
Apples, Red Hook, NY, 2001
2002
Stairs 1998

Catherine Yass
Stairs 1998
2002
 
 
Untitled (02.1)
Uta Barth

Untitled (02.1)
2002

Two color photographs, mounted on Sintra,
48 x 61 x 0.4 cm (19 x 24") ea. Edition of 45,
signed on right image, numbered on left.






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Vogue Hommes
Vanessa Beecroft

Vogue Hommes
2002

Two Pigment prints on photo rag paper,
61 x 49 cm (24 x 19¼") ea.
Edition of 45, with a signed and
numbered certificate.


Vanessa Beecroft (born 1969 in Genoa, Italy, lives and works in New York) does something that nobody else does - she does images live, and that changes everything. Even though most viewers probably only know her work through photographs and videos, it´s the staging and theatricality of the live event that make these images of girls, whose vacancy and seductive appeal are equally pronounced, so compelling. In Beecroft´s body arrangements, there is a charged and yet restrained atmosphere created by the tension between broken taboos and ancient ideals of beauty, between eroticism and the charm of naked show-window dummies. The artist makes contemporary versions of the complex figurative compositions that have challenged painters from the Renaissance onwards.




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Pile (Stapel)
Thomas Demand

Pile (Stapel)
2001-2002

Two Lambda prints, 60 x 50 cm (23½ x 19¾") ea.
Edition of 45, signed and numbered.


»I think photography is less about representing than constructing its objects.« In his pictures, Thomas Demand (born 1964 in Munich, lives and works in Berlin) has deconstructed photography as the dominant visual medium of our time. The act of physically building a model of something after a photograph and then re-photographing the re-construction obstructs the link between represented and representation, leaving us uncertain about: should we believe what we see or should we see what we believe? The anonymously empty places in Demand´s forever open-ended pictures offer our imagination endless leeway and stimulation for reconstructing the events that have taken or might have taken place in these sceneries of enigmatic ordinariness. In these images, with anonymous piles of paper, Demand recreates the surrealistic scenery of the controversial re-counting of the ballots from the Florida 2000 Presidential election.




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Jökulsgilskvisl
Olafur Eliasson

Jökulsgilskvisl
2003

Two C-prints, mounted on Forex,
40 x 60 cm (15¾ x 23½ ") ea.
Edition of 45, signed on both images


Olafur Eliasson (born 1967 in Copenhagen, lives and works in Berlin) belongs to a younger generation of artists who in the nineties explored and expanded the boundaries between art, science and nature and the perception thereof. For years, the artist has transferred natural phenomena such as water, light, wind, temperature and movement into the art context using simple technical aids, always clearly emphasizing for the viewer the technology involved. In his sculptures, installations, and photographs, Eliasson´s artistic interest is focused on dialogic processes occurring between the viewer and his perception. The elemental naturalness of the materials employed - like water and earth - produce an open structure to his work. Due to the potential for dynamic transformation inherent in the materials, the viewer experiences himself as being subject to the movement of time and space.
The two photographs, Jökulsgilskvisl, map volcanic rock formations, erosion, sediment, ice, water, and vegetation: complex configurations of earth´s evolutionary processes depicting aspects of the wild beauty of Iceland.




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Joey in my mirror
Nan Goldin

Joey in my mirror
2002

Joey in my mirror, Berlin 1992
Joey in my mirror, NYC 1999
Two Cibachromes, 51 x 61 cm (20 x 24") ea.
Edition of 45, signed on left image.


»My work derives from the snapshot. It is the form of photography that most closely stands for love.«
Nan Goldin, born 1953 in Washington DC, lives and works in Paris. Every one of Goldin´s photographs is like a window opening on a labyrinthine body of stories - some happy, some tragic. Her work is documentary in the best sense: it hews close to the world she knows, but it also indulges in the self-dramatization and pathos that together constitute a post-modern version of Romanticism. Nan Goldin´s photographs have become touchstones of the contemporary visual imagination, avidly collected all over the world and assimilated into the mainstream.




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Universitätsbibliothek Hamburg A
Candida Höfer

Universitätsbibliothek Hamburg A
2000/02

Two C-Prints, mounted on Forex,
61 x 61 cm (24 x 24") ea.
Edition of 45, signed and numbered ea.


Since the end of the 1970s, Candida Höfer (born 1944, lives and works in Cologne) has been photographing interiors in public and semi-public spaces from different architectural epochs, spaces that are accessible to the public - gathering spaces, places of communication, science, or recreation: hotels, lobbies, museums, libraries, universities, banks, churches, health resorts, zoological gardens. The works are not studies in typological registration, rather they are looking for the similarities and the differences behind the similarities. Höfer´s photographs, for the most part exclusive of people and shot with the natural lighting of the shooting scene, evoke different overlaying time levels: the one of the origin of the architecture, the one of the present use of it, and the one of the shooting itself. »My work derives from the snapshot. It is the form of photography that most closely stands for love.«




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Sunset 1 and Sunset 2
Axel Hütte

Sunset 1 and Sunset 2
2002

Two Cibachromes, mounted on Plexiglas,
50 x 60 cm (19¾ x 23½ in) each. Edition of
45, signed on both images.


Axel Hütte (born 1951, lives and works in Düsseldorf) has developed a singular approach to his photographic compositions: his landscapes, flora, waterfalls, and bridges each focus on a single motif - sky, water, or plant take up the entire image. They convey a sense of the infinite: the subject isn´t framed, its position as sole element suggests its continuation out of the frame, on and on. Geometric composition is a central theme in his work, and he finds and represents the lines, circles, and repetitive shapes that exist in nature.




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Walking
Alfredo Jaar

Walking
2002

Two Fujiflex prints, mounted behind plexiglas,
61 x 40,5 cm (24 x 16") ea. Edition of 45,
signed on both images.


For over two decades, Alfredo Jaar´s work has focused on photography as political witness. Born 1956 in Santiago, Chile, and living in New York, he has used a hybrid of installation, photography, text and sculpture to create metaphoric images dealing with the antagonism between industrialized and developing countries. »I witnessed this scene in 1994 in Zaire, today called Congo. A refugee is walking. His appearance is similar to most refugees, with bare feet and a cane. He carries just one bag filled with old garments; he has lost everything. This man was just one out of four million Rwandan refugees seeking refuge outside Rwanda or being displaced within Rwanda. I was unable to assist this man in his desperate journey. I remember him walking.«




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#3839/#3561
Bill Jacobson

#3839/#3561
2000-2002

Two chromogenic prints,
26,5 x 30,5 cm (10½ x 12 in.) ea.,
mounted on Museum board,
48,5 x 54,5 cm (19¼ x 21½ in.)
Edition of 45, signed on both images.


Bill Jacobson (born 1955, lives and works in New York) has been making diffused, out-of-focus photographs since 1989. They refer to the way the mind works, as opposed to the way the camera traditionally "sees". A crisp, modern snapshot tends to render the world with far more detail and clarity than our brains can ever comprehend. Jacobson´s images from the early and mid-nineties were mostly close-ups of figures silhouetted against white or black, suggesting past lives, past relationships, or friends who have passed away. The more recent color work, shot on the streets of New York, emphasizes presence rather than loss. Yet still, the lack of clarity speaks to the fragility, and tenuousness, of life itself.




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Untitled #1 and #2
Malerie Marder

Untitled #1 and #2
2001

Two light jet prints, mounted on plexiglas,
50.5 x 60.5 cm (20 x 24") ea.
Edition of 45, signed on left image.


Malerie Marder (born 1971, lives and works in Los Angeles) sets up unconventional nude portraits and scenes using friends, family and herself as models. Inspired by film, her disturbing and enigmatic images have a strong cinematic quality, where tension is created through the uncertainty of the scene and the uncertainty of the relationships. The subjects at times appear to be caught off guard, further enhancing the awkwardness of the image and cleverly orchestrating a sense of uncomfortable voyeurism.




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Exposure #1 2000
Barbara Probst

Exposure #1 2000
2002

Two photographs, mounted on Dibond,
40,5 x 61 cm (16 x 24") each,
Edition of 45, signed on both images.






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Zeitungsfoto 071, Sterne 22h 24m / -20
Thomas Ruff

Zeitungsfoto 071, Sterne 22h 24m / -20
2002

Two C-prints, mounted on Forex,
59 x 42 cm (23¼ x 16½") each.
Edition of 45, signed on both images.






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Apples, Red Hook, NY, 2001
James Welling

Apples, Red Hook, NY, 2001
2002

Two chromogenic prints mounted behind
plexiglas, 51 x 61 cm (20 x 24") ea.
Edition of 45, signed on left image.






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Stairs 1998
Catherine Yass

Stairs 1998
2002

Two Ilfochrome prints, mounted behind plexiglas (Diasec), 60 x 50 cm (23½ x 19¾") ea. Edition of 45, signed on both images.






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