Vincent Cianni began photographing the South Side of Williamsburg in 1994. He teaches photography at Parsons School of Design in New York City and lives in Brooklyn.
Archives
Family, Kermit, West Virginia
1979
Signed, titled, and dated, verso
Gelatin silver print
11 x 14 inches
Contact gallery for price.
Reverend Elkins and Niece, Church in Jesus Name, Jolo, West Virginia
1979/printed later
Signed, titled, and dated, verso
Gelatin silver print
14 x 11 inches
Contact gallery for price.
Turtle Creek, Pennsylvania
2012
Signed, titled, dated, and numbered, verso
Archival pigment print (Edition of 5)
17 x 22 inches
Sold.
Andrew Borowiec
Andrew Borowiec is a professor at the University of Akron in Ohio. His work has focused on the changing industrial American landscape over three decades. He has received numerous grants and fellowships from such organizations as the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, and the Ohio Arts Council. Boroweic’s photographs are represented in the permanent collections of the Art Institute of Chicago, Smithsonian Museum of American Art, Cleveland Museum of Art, and the Museum of Fine Arts, Houston, among others.
Ilulissat 11, 07/2013
2013
Signed and numbered on label, verso
Archival pigment print
24.8 x 29.5 inches
(Edition of 4)
Contact gallery for price.
43.7 x 52.4 inches
(Edition of 7)
Contact gallery for price.
58.7 x 70.9 inches
(Edition of 2)
Contact gallery for price.
72.1 x 88.2 inches
(Edition of 2)
Contact gallery for price.
Brian Finke | Hip Hop Honeys
From powerHouse Books (Hardcover, 10 x 10 inches, 104 pages, 61 color illustrations, ISBN: 978-1-57687-866-8). $15 + shipping.
Ilulissat 30, 07/2015
2015
Signed and numbered on label, verso
Archival pigment print
24.8 x 29.5 inches
(Edition of 4)
Contact gallery for price.
43.7 x 52.4 inches
(Edition of 7)
Contact gallery for price.
58.7 x 70.9 inches
(Edition of 2)
Contact gallery for price.
72.1 x 88.2 inches
(Edition of 2)
Contact gallery for price.
Ilulissat 06, 07/2014
2014
Signed and numbered on label, verso
Archival pigment print
24.8 x 29.5 inches
(Edition of 4)
Contact gallery for price.
43.7 x 52.4 inches
(Edition of 7)
Contact gallery for price.
58.7 x 70.9 inches
(Edition of 2)
Contact gallery for price.
Ilulissat 51, 07/2015
2015
Signed and numbered on label, verso
Archival pigment print
29.5 24.8 inches
(Edition of 6)
Contact gallery for price.
52.4 x 43.7 inches
(Edition of 7)
Contact gallery for price.
70.9 x 58.7 inches
(Edition of 2)
Contact gallery for price.
Ilulissat 52, 07/2015
2015
Signed and numbered on label, verso
Archival pigment print
29.5 x 24.8 inches
(Edition of 4)
Contact gallery for price.
52.4 x 43.7 inches
(Edition of 7)
Contact gallery for price.
70.9 x 58.7 inches
(Edition of 2)
Contact gallery for price.
Installation Image I
Installation Image II
Installation Image III
Installation Image IV
Installation Image V
Installation Image VI
Installation Image VII
Cyanotypes
“Ghost Ship” is a series of unique, large-scale cyanotype prints by Brian Buckley. Through the use of a 19th-century photographic process that pre-dates silver-based practices, the artist employs its naturally rich, blue tones to endeavor to express his thoughts on the beauty and mystery of the vast seas and his long-felt fascination with the power and danger of deep waters.
Incorporating aspects of Greek mythology into the project, the artist uses these stories to express his own personal experiences at sea. Loosely drawing from the narrative and imagery in The Odyssey—a text taught by Buckley’s father at City College in New York City—the artist’s prints reference ghost ships and sea monsters, sirens, and Sappho.
Brian Buckley sources his chemicals and mixes them by hand in small batches before applying them to watercolor paper. Often creating layers of multiple coats, the artist covers his sheets with light sensitive chemicals using a variety of tools from sponges to brushes and glass rods. Buckley plans specific types of applications appropriate for particular subjects, and his hand is evident in and integral to subtle variations in the final artworks. Employing more straightforward photogram techniques in concert with digitally enlarged negatives, each cyanotype is distinct and one-of-a-kind. Exposures range from a single hour up to three full days.