2002
Signed, titled, dated, and numbered, verso
Type-C print
40 x 40 inches
(Edition of 5)
$9000.00
30 x 30 inches
(Edition of 5)
$5000.00
20 x 20 inches
(Edition of 10)
$2500.00
2002
Signed, titled, dated, and numbered, verso
Type-C print
40 x 40 inches
(Edition of 5)
$9000.00
30 x 30 inches
(Edition of 5)
$5000.00
20 x 20 inches
(Edition of 10)
$2500.00
Beginning with scraps of paper and found imagery, Bill Armstrong created colorful collages which he then photographs with the focus ring on his camera lens placed on infinity. The resultant images are a wonderful hybrid of media (collage and photography) that seamlessly meld original and found imagery, while teasing the boundary between representation and abstraction.
Unifying a broad range of diverse imagery, a common theme of Armstrong’s Infinity series is to depict photographically the idea of the spirit — often regarded at something unable to be seen. Drawing from a variety of belief systems from around the globe, the artist’s groupings reference a range of sources — from Western ideas of the celestial or heavenly (as in the Blue Spheres) and common notions of ghosts and apparitions, to African concepts of “evil spirits” and Eastern mandalas and Buddha.
The mysterious and powerful images in this body of work capture fleeting “visitations” from the spirit world — visions as they might appear in dreams or heightened states of wakefulness. The photographs are made using Armstrong’s unique process of re-working found images and photographing them extremely out of focus. In this case, the original source materials are reproductions of Roman sculpture shot with the camera lens set at infinity.
The meanings underpinning Apparition radiate in a number of directions. While many of the images are dark, ghoulish visions, others are hopeful spiritual presences. For Armstrong, the ghosts of ancient Rome represent particularly appropriate messengers for our time, as we contemplate the fate of our own empire.
c. 1981
Signed in pencil, verso
Vintage gelatin silver print
14 x 11 inches
Contact gallery for price.
Beginning with scraps of paper and found imagery, Bill Armstrong created colorful collages which he then photographs with the focus ring on his camera lens placed on infinity. The resultant images are a wonderful hybrid of media (collage and photography) that seamlessly meld original and found imagery, while teasing the boundary between representation and abstraction.
Unifying a broad range of diverse imagery, a common theme of Armstrong’s Infinity series is to depict photographically the idea of the spirit — often regarded at something unable to be seen. Drawing from a variety of belief systems from around the globe, the artist’s groupings reference a range of sources — from Western ideas of the celestial or heavenly and common notions of ghosts and apparitions, to African concepts of “evil spirits” and Eastern mandalas and Buddha.
These are miscellaneous photographs shot by Arsenault over the past ten years. The images are not part of any discrete body of work, but rather represent an overview of the artist’s interests and style.
Growing up in a small town in northern Massachusetts, John Arsenault spent a great deal of time during his childhood in his Aunt Kathy’s hair salon. Opened in the late 1960s, Kathy’s Beauty Nook has catered to three generations of women, most of whom now range from 60 to 96 years of age. Arsenault enjoyed the upbeat, bustling environment of the beauty parlor, and it was there that his aunt first recognized and later encouraged her nephew’s exceptional creativity. Now in his thirties, Arsenault has spent the past two years returning periodically to Haverhill, Massachusetts in order to photograph his aunt and her colorful clientele. Aside from shooting just clippers, curlers, and blue-tinted coiffures, Arsenault is documenting a tight-knit community of women who have shared the majority of their lives with one another. While the photographs are gorgeously crafted and often very funny, there is a notable sensitivity, too, as the artist’s subjects are also the people of his personal life.
“In the final analysis, if this work’s subtly ironic title ‘Faith, Honor and Beauty’ has a rather malevolent, even fascist ring to it, no doubt it is because what are ideals to one can easily be nightmares to another.”
– Keith Seward, ARTFORUM, December 1993
1978
Signed dated, and numbered, verso
Gelatin silver print (Edition of 25)
14 x 11 inches, sheet
12 x 8 inches, image
Sold.
2002
Signed, verso
Oil on cardboard
5 x 4 inches
Sold.
Ross Bleckner is a renowned painter based in New York City who is especially appreciated for his work responding to the AIDs epidemic.
1931
Signed, l.l.
Also signed and titled on stretcher, verso
Oil on canvas
27 x 36 inches
Contact gallery for price.
1994
Signed, dated, numbered 7116, and inscribed AP, verso
C-print
11 x 14 inches
Sold.
Tina Barney is an American photographer best known for her large-scale, color portraits of her family and close friends in New York and New England.
2013
Signed and numbered, verso
Archival pigment print
38 x 27 inches, sheet
(Edition of 9)
$2800.00
22 x 17 inches, sheet
(Edition of 15)
$1400.00
Please note that prices increase as editions sell.
Beginning with scraps of paper and found imagery, Bill Armstrong created colorful collages which he then photographs with the focus ring on his camera lens placed on infinity. The resultant images are a wonderful hybrid of media (collage and photography) that seamlessly meld original and found imagery, while teasing the boundary between representation and abstraction.
Unifying a broad range of diverse imagery, a common theme of Armstrong’s Infinity series is to depict photographically the idea of the spirit — often regarded at something unable to be seen. Drawing from a variety of belief systems from around the globe, the artist’s groupings reference a range of sources — from Western ideas of the celestial or heavenly and common notions of ghosts and apparitions (as in Figures), to African concepts of “evil spirits” and Eastern mandalas and Buddha.