2012
Signed, dated, and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 8)
$2500.00
20 x 24 inches
(Edition of 12)
$1500.00
Please note that prices increase as editions sell.
2012
Signed, dated, and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 8)
$2500.00
20 x 24 inches
(Edition of 12)
$1500.00
Please note that prices increase as editions sell.
2012
Signed, dated, and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 8)
$2500.00
20 x 24 inches
(Edition of 12)
$1500.00
11 x 14 inches
(Edition of 50)
$300.00
Please note that prices increase as editions sell.
Rachel Hulin’s inspiration for this series came largely from her 6-month-old son, Henry. Like many babies, Henry loved being held in the air and sailed about the room. Hulin photographed him on a few occasions and soon took note of how it seemed her son was caught up in his own experience—floating apart. In American Photo Magazine, Hulin commented: “It was an allegory for how he seemed so in his own world. I was always trying to figure out what was going on in his mind.”
Hulin then began staging more formal photo shoots with Henry. Often she would anchor the camera to a tripod and shoot pictures on a timer while she held the infant overhead. Other times her husband would stand in to elevate their son. The sessions were typically just five frames in duration before Henry lost interest. Then, back at the computer, Hulin digitally eliminated the adults in the images making it appear as though Henry were in magical flight. After surprisingly enthusiastic responses from friends and colleagues with whom she shared the early results, Hulin was encouraged to pitch a children’s book.
b. 1978
Rachel Hulin is a photographer based in Providence, Rhode Island and New York City. Her work has been shown at the International Center for Photography, The Bronx Museum of the Arts, and recently at the Rhode Island School of Design Museum. Her writing about photography has appeared in The Huffington Post, The Daily Beast, PDN, and The Photography Post, which she co-founded. Hulin was formerly a photo editor at Rolling Stone, People, RADAR, and Time Magazine. Editorial clients include Martha Stewart Living Magazine, Country Living Magazine, and Real Simple Magazine. She has a BA from Brown University and an MA from NYC/ICP.
Please come and visit us at CONTEXT Art Miami, now through Sunday.
CONTEXT is located at the Art Miami Pavilion, Midtown in the Wynwood Arts District, 3201 NE 1st Avenue, Miami, FL 33137.
We are in Booth D 19 showing a selection of our gallery artists. Seen here, left to right, work by Lori Nix, Bruce Sargeant, Bill Armstrong, and Jill Greenberg.
2009/2011
Signed on label, verso
Archival pigment print (Edition of 300)
12 x 17 inches
Contact gallery for price.
Clifford Ross was born in New York City in 1952, and graduated from Yale University in 1974, where he received a BA in Art and Art History. Ross began his career as a painter and sculptor, and in 1994 became deeply involved with photography and other media. His singular goal has been to create work that relates to the sublime in nature. Using both realistic and abstract means to achieve this goal, he often develops radically new approaches to existing media.
Ross began his well-known Hurricane Wave series in 1996, entering the surf during extreme weather, often up to his neck, while tethered to an assistant on land. His photographic techniques have expanded over time, using digital methods and inkjet printing.
In 2002, Ross invented and patented his revolutionary R1 Camera to photograph Mount Sopris in Colorado, which allowed him to produce some of the highest resolution large-scale landscape photographs in the world – his Mountain series. More recently, Ross has developed new techniques for generating computer-based videos.
The artist’s collaborations include work with Pan Gongkai, renowned ink painter and President of the Central Academy of Fine Arts in Beijing, Chinese composer and musician, Wu Tong, and work with architects Mack Scogin and Merrill Elam on the Austin Federal Courthouse where he created The Austin Wall, a 3.5 ton, 28′ x 28′ stained-glass wall. The building and Ross’s Wall were recognized with an Honor Award for Federal Design from the U.S. General Services Administration in 2014.
Ross’s works have been exhibited in museums around the world, and are in many collections including the Museum of Modern Art, and the Metropolitan Museum of Art, New York City; the Philadelphia Museum of Art; the Parrish Art Museum, Water Mill, New York; the J. Paul Getty Museum, Los Angeles; and the Museum of Fine Arts, Houston.
2005
Signed and numbered on label, verso
Archival pigment print
50 x 43 inches
(Edition of 10)
Contact gallery for price.
2005
Signed and numbered on label, verso
Archival pigment print
50 x 43 inches
(Edition of 10)
Contact gallery for price.
Stephen Wilkes writes in “Time Magazine” to accompany his aerial photographs of superstorm Sandy’s aftermath:
After “Time Magazine” commissioned me, along with four other photographers, to capture Hurricane Sandy using Instagram, I and many of my colleagues felt a deep personal need to go back and document the aftermath. I’ve covered disasters in other parts of our country, but this is my hometown, and Sandy was a storm of historical significance. I’ve often found that there is great power in telling difficult stories in a beautiful way. Interest in any given story wanes so quickly, yet it’s only through taking the time to go deeper that we get to a place of real understanding. I had to return to this story, and I wanted try to comprehend the scale of this storm. The only way for me to capture Sandy’s destructive fury was from above.
On the Sunday after Sandy made landfall, I decided to rent a helicopter and fly over some of the most devastated areas, including the New Jersey shore, Breezy Point and Far Rockaway. It was a beautiful day to fly, but unfortunately that beauty quickly eroded into shock as we began to get close to the coasts. It was everything I’d heard about, but it was difficult to believe what I was actually seeing. Once we got above the shoreline, I really started to understand the scale of the destruction. The expanse of land it ruined, the totality of the devastation — it was like a giant mallet had swung in circles around the area. It was mind numbing.
From Francesca Bates’ story for Slate:
Lori Nix thinks she may be “a little obsessed” with the apocalypse. It began as a child, when she would watch with awe as blockbuster disaster flicks “magnified” the natural disasters and dangers she saw around her growing up in the Midwest. In her latest series, “The City,” the photojournalist turned fine-art photographer imagines a human-less world where Mother Nature has reclaimed our cities; and she makes these breathtaking images all without the help of Photoshop.
View Lori Nix’s series, “The City”
View all of Lori Nix’s work at ClampArt
From Chris Boot’s selection for the Le Journal de la photographie:
The Atlantic Challenge begins on 4th of December with 17 teams from around the world. More people have been into space than have rowed the Atlantic, and it is rightly considered as one of the toughest challenges on the planet.
Since 1997 this ocean-rowing race has attracted the brave and the intrepid to pit themselves against the elements and race the 2,900 miles from La Gomera, Tenerife, to Port St Charles, Barbados. Rowers have to cope with blisters, salt rashes, sleep deprivation and rowing in two-hour shifts around the clock for weeks on end.
From Hannah Booth’s article in The Guardian Weekend:
One of the more striking things about these people posing in their T-shirts is how un-posey they are. Only Popeye is apeing the stance of the cartoon sailor on his back, but you have to look closely. You can almost see him smiling, too. The rest, told to “do what you want,” stood up straight, arms down–no Usain Bolt shenanigans here. Girls were more likely to put their hands on their hips, says the photographer Susan A Barnett, but then she found few to shoot: slogan T-shirts, it appears, are a peculiarly male preserve.
1995
Signed, titled, dated, and numbered (8/20), verso
Cibachrome print
10 x 9 inches, sheet
8 x 6.25, image
Contact gallery for price.
2001-2008
Signed and numbered (34/200) on label, verso
Archival pigment print
11 x 8.5 inches
Contact gallery for price.
2007
Signed in black ink, verso
Chromogenic print
10 x 8 inches, sheet
6.5 x 6.5 inches, image
Contact gallery for price.