2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Archives
Wonderland
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
House on the Hill
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
At the Kitchen Table
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Unmade Bed
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Fog
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Last Glimmer
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Summer Idyll
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Guardian Angel
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Liftoff
2014
Signed and numbered, verso
30 x 40 inches
Digital C-Print (Edition of 5)
$2500.00
20 x 24 inches
Chromogenic print (Edition of 7)
$1500.00
Please note that prices increase as editions sell.
Amy Stein | “Taking Taxidermic Animals Out for Some Fresh Air—And Portraits,” Wired
From Jordan G. Teicher’s article for Wired:
Her first image, “Trash Eaters,” showed two stuffed coyotes outside a quiet home, where they appeared to be rifling through trash. When she shared the image at a class workshop, it immediately drew comparisons to the work of Gregory Crewdson, who is widely known for elaborately staged scenes of homes and neighborhoods. Stein largely abandoned the dramatic lighting style of that image in subsequent images, opting instead for a more natural aesthetic in images like “Hillside” and “Howl.”
View Amy Stein’s series, “Domesticated”
Browse all of Amy Stein’s work at ClampArt
Bill Armstrong’s work on exhibition at the Skirball Cultural Center
Bill Armstrong’s work is featured in “The Noir Effect” at the Skirball Cultural Center in Los Angeles from October 23, 2014 – March 1, 2015.
“The Noir Effect” traces the influence of film noir into recent times, exploring how the genre has continued to impact American popular culture, art, and media.
Featuring work by artists such as Cindy Sherman, Ed Ruscha, Bill Armstrong, and David Lynch, the exhibition examines how key noir elements—stark lighting and shadows, moody characters, “hard-boiled” language, and fragmented narratives—have infiltrated contemporary film and television, graphic novels, children’s books, fashion advertising, video games, and fine art.
The exhibition is organized by the Skirball Cultural Center and co-presented with the Academy of Motion Picture Arts and Sciences.
Skirball Cultural Center
2701 N. Sepulveda Boulevard
Los Angeles, CA 90049
(310) 440-4500
http://www.skirball.org/exhibitions/the-noir-effect
Browse Bill Armstrong’s series, “Film Noir”
Browse all of Bill Armstrong’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director
ClampArt featured at PCNW benefit
Image: Corey Arnold, “After All Night,” 2012, Chromogenic print.
The Photographic Center Northwest (PCNW) benefit event “Connect The Dots” brings together those creating photography (artists) with those experiencing photography (audience), through cocktails, conversation, a plated dinner, silent and live auction, and a raise-the-paddle donation opportunity.
This year, in addition to highlighting photographers, PCNW is featuring ten photography galleries locally and nationally who are an important part of the arts ecosystem – – including ClampArt, New York City; along with G. Gibson Gallery, Seattle; MIA Gallery, Seattle; Fraenkel Gallery, San Francisco; Scott Nichols Gallery, San Francisco; Craig Krull Gallery, Los Angeles; SepiaEYE, New York City; Yossi Milo Gallery, New York City; Charles A. Hartman Fine Art, Portland; and photo-eye, Santa Fe.
ClampArt donated an archival pigment print by Henry Horenstein titled “Common Carp, Cyprinus Carpi” from the series “Animalia.”
PCNW
415 Westlake Avenue, North
Seattle, WA 98109
http://pcnw.org/support/benefit/information/
Live auction and dinner:
Friday, October 24, 2014
7.30 p.m.
Blog post by:
Brian Paul Clamp, Director
11:33 am
Los Angeles,
2014
Signed, titled, dated, and numbered, verso
Archival pigment print
30 x 30 inches
(Edition of 5)
Contact gallery for price.
13.5 x 13.5 inches
(Edition of 10)
Contact gallery for price.
11:28 am
Los Angeles,
2014
Signed, titled, dated, and numbered, verso
Archival pigment print
30 x 30 inches
(Edition of 5)
Contact gallery for price.
13.5 x 13.5 inches
(Edition of 10)
$2,000
11:56 am
Los Angeles,
2013
Signed, titled, dated, and numbered, verso
Archival pigment print
30 x 30 inches
(Edition of 5)
Contact gallery for price.
13.5 x 13.5 inches
(Edition of 10)
Contact gallery for price.
Robert Voit | New Trees
From Steidl Verlag (Hardcover, 12.5 x 10.25 inches, 150 pages). $40 + shipping.
Brian Finke | “Intimate Images of U.S. Marshals,” Wired
From Jakob Schiller’s story for Wired:
The FBI may get all the love (and movies), but the U.S. Marshals Service is America’s oldest federal law enforcement agency. Brian Finke spent nearly four years embedded with the marshals, chronicling their daily lives with intimate, revealing images that peer into an often dangerous world.
“I felt like it was my own version of the TV show COPS,” Finke says.
The Marshals Service, created in 1798, is charged with things like apprehending fugitives, transporting and housing prisoners and protecting witnesses and federal judges. It didn’t take long for Finke to find himself in the middle of things. His first ride-along included a 120-mph pursuit of an escaped convict in Huntsville, Texas. Not too much later, he was in Las Vegas, where he joined marshals as they rounded up sex offenders and saw a young man overdose on heroin after swallowing his stash.
View the series “U.S. Marshals”
Browse all of Brian Finke’s work at ClampArt
Frank O’Hara and Stevie Rivers
1956
Signed and dated, l.r.
Oil on canvas
57.5 x 76.5 inches
Contact gallery for price.
Robert Voit | “Robert Voit,” Art Photo Collector
From Lane Nevares’ post on ArtPhotoCollector.com:
Voit, who studied at the the prestigious Arts Academy in Dusseldorf, Germany, knows all about the “Becher School” of photography. His photographs, however, play with typologies rather than being boxed-in as such. Voit is merely asking us to look closely, pay attention, and smile along the way. Our world has changed and these “new trees” reflect the landscape of our 21st Century planet.
View the exhibition “New Trees” and “The Alphabet of New Plants”
Browse all of Robert Voit’s work at ClampArt