2013
Signed and numbered, verso
Archival inkjet print
20 x 30 inches
(Edition of 6)
NFS
16 x 22 inches
(Edition of 15)
NFS
2013
Signed and numbered, verso
Archival inkjet print
20 x 30 inches
(Edition of 6)
NFS
16 x 22 inches
(Edition of 15)
NFS
2012
Signed and numbered, verso
Archival inkjet print
20 x 30 inches
(Edition of 6)
NFS
16 x 22 inches
(Edition of 15)
NFS
2012
Signed and numbered, verso
Archival inkjet print
20 x 30 inches
(Edition of 6)
NFS
16 x 22 inches
(Edition of 15)
NFS
From Ajai Raj’s review on the Artery website:
There is life in each of these photos, a sense of movement or a story. One is invited to ponder the prosaic way in which the great project of civilization is moving forward. Some are unexpectedly poignant, such as a broken stereo salvaged with duct tape: a light-hearted reminder, in a series about building, that things break and that people make do. Others strike the viewer with mythic force: landscapes of dirt-mounds or piles of brick beneath endless blue skies, great trundling machines preparing the earth and workers in hard-hats navigating precarious structures at dangerous heights.
View the exhibition
Browse all of Brian Finke’s work at ClampArt
b. 1979, Mumbai, India
Manjari Sharma is an internationally published photo-based artist born and raised in Mumbai, India, and based in southern California. In addition to many private collections, Sharma’s work is represented in the permanent collection of the Museum of Fine Arts, Houston, and the Metropolitan Museum of Art, New York City, and has been showcased in solo and group exhibitions worldwide.
Sharma was awarded 1st Place for The CENTER’s Curator’s Choice Award 2014, and her work was selected for an honorable mention for the Santa Fe Prize in 2012. Her photographs have been selected by Review Santa Fe and featured by the Griffin Museum and Photolucida Critical Mass Top 50. The School of the Museum of Fine Arts, Boston, The Rubin Museum of Art, AsiaSociety Museum, and The School of Visual Arts are a few of the places Sharma has been invited to lecture and teach.
Sharma holds a bachelor’s degree in Visual Communication from S.N.D.T University, Mumbai, and a Bachelor of Fine Arts in Still Photography from Columbus College of Art and Design in Columbus, Ohio.
In “Hesitating Beauty,” Lutz breaks down the structure of the photograph as truth and challenges the traditional function of the medium in building narrative. The project is an intimate portrait of the artist’s mother unlike any other photographic model.
Blending family archives, interviews, and letters with his own photographic images, Lutz spins a seamless and strangely factual (yet unflinchingly fabricated) experience of a life and family consumed by mental illness. Rather than showing us what it looks like, “Hesitating Beauty” plays with our conceptions of reality to show us what it feels like to grapple with a family member’s retreat from lucidity.
2003
Signed, titled, dated, and inscribed (AP1), verso
Gelatin silver print
20 x 16 inches, sheet
Contact gallery for price.
Born in 1930 in Highland Park, Illinois, Rosalind Fox Solomon is an artist based in New York City who works primarily with photography. Solomon is celebrated for her emotionally evocative portraits depicting human suffering, ritual, and struggle for survival.
During the 1970s, Solomon produced photographs of dolls and mannequins, documented the ill over the course of a yearlong project at Chattanooga Hospital, Tennessee; and also produced portraits of well-known artists and politicians, including William Eggleston and President Jimmy Carter. John Szarkowski included Solomon’s work in the 1978 exhibition, “Mirrors and Windows” at the Museum of Modern Art, New York City; and exhibited examples from her dolls and mannequins series in the show, “Photography for Collectors.” Szarkowski also selected 50 of Solomon’s prints for MoMA’s permanent collection. In 1986, Solomon’s work was presented in the solo exhibition, “Rosalind Solomon, Ritual,” and has since appeared in numerous MoMA group shows, including the 2010-2011 exhibition, “Pictures by Women: A History of Modern Photography.”
In 1987, Solomon began making portraits of individuals with AIDS in the hope of helping to dissolve the stigma that surrounded them as they were sick and dying. Sixty-five of these portraits were featured in the 1988 exhibition, “Portraits in the Time of AIDS,” at New York University’s Grey Gallery. A selection of these portraits was also shown in 2013 at Bruce Silverstein Gallery, New York City; and again in 2015 in the Salon d’Honneur of the Grand Palais, at Paris Photo.
Solomon’s work is included in the collections of over 50 museums around the world, including the Bibilithèque nationale de France, Paris; the Metropolitan Museum of Art, the Museum of Modern Art, and the Brooklyn Museum, New York City; the Corcoran Gallery of Art and the National Gallery of Art, Washington, DC; George Eastman House, Rochester, New York; the Los Angeles County Museum of Art; Museum of Fine Arts, Boston; the San Francisco Museum of Modern Art; and the Victoria and Albert Museum, London; among many others.
Been traveling from Las Vegas, Nevada to Camden, New Jersey. Last week my current project on U.S. Marshals brought me to South Texas to photograph the daily activities of the deputies who work the border towns.
To see all of Brian Finke’s work at ClampArt:
http://clampart.com/2012/02/brian-finke/
Blog post by:
Brian Finke, Artist
From BLINK:
BLINK: “You were born in Montreal, Canada and grew up in Detroit, United States. Then you graduated from Rhode Island School of Design, went to New York for starting your professional photography career. And now you are based in Los Angeles. How do you like living in LA?”
GREENBERG: “Los Angeles is a great place to live with a family. I wanted to get out of NYC after 12 years – – I wanted more nature and space. This is not to say that I would not move back to NYC at some point. I actually think it might be better to raise teenagers in NYC than LA because of the driving.
PDF of the magazine article
“Jill Greenberg,” Blink (Issue 17)
Broken Hill
2010
Signed and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 3)
$2200.00
24 x 30 inches
(Edition of 5)
$1800.00
Please note that prices increase as editions sell.
Mollymook
2010
Signed and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 3)
$2200.00
24 x 30 inches
(Edition of 5)
$1800.00
Please note that prices increase as editions sell.
Milton
2010
Signed and numbered, verso
Archival pigment print
40 x 30 inches
(Edition of 3)
$2200.00
30 x 24 inches
(Edition of 5)
$1800.00
20 x 16 inches
(Edition of 7)
$1200.00
Please note that prices increase as editions sell.
Road to Broken Hill
2010
Signed and numbered, verso
Archival pigment print
40 x 30 inches
(Edition of 3)
$2200.00
30 x 24 inches
(Edition of 5)
$1800.00
20 x 16 inches
(Edition of 7)
$1200.00
Please note that prices increase as editions sell.
Wilcannia
2010
Signed and numbered, verso
Archival pigment print
40 x 30 inches
(Edition of 3)
$2200.00
30 x 24 inches
(Edition of 5)
$1800.00
Please note that prices increase as editions sell.
Broken Hill
2010
Signed and numbered, verso
Archival pigment print
40 x 30 inches
(Edition of 3)
$2200.00
30 x 24 inches
(Edition of 5)
$1800.00
20 x 16 inches
(Edition of 7)
$1200.00
Please note that prices increase as editions sell.
Broken Hill
2010
Signed and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 3)
$2200.00
24 x 30 inches
(Edition of 5)
$1800.00
Please note that prices increase as editions sell.
Broken Hill
2010
Signed and numbered, verso
Archival pigment print
30 x 40 inches
(Edition of 3)
$2200.00
24 x 30 inches
(Edition of 5)
$1800.00
Please note that prices increase as editions sell.