Pinhole Abstract Photography

Valentin Samarine started doing abstract painting in the 60s, and abstract photography in the 70s. He moved fairly easily from one to the other. It is in a perfectly logical sense: Valentin relies in both cases on a model of spontaneous creation, implemented in the post-war years in European painting, whether it is abstract expressionism (USA), action art (England) or tachism (France) . Valentin Samarine methodically destroys, at all stages, the mechanistic function of the photographic process. In Leningrad, he had experimented and put a dose of unpredictability at the time of the shooting and during the development. In Paris, Valentin went from the negative to the process of revelation of the positive, by giving the "representation the maximum of possibilities for possible metamorphoses, without imposing anything on it, in particular with regard to the range of colors. the metatechnics of contact between the still invisible, floating or spinning jets, like sleds coming down from the mountain. " (V. Samarine) This deeply respectful, almost religious attitude towards the process of creation and all its components allows the artist to approach the limits of three-dimensional space, beyond which vibrate the parapsychological, transpersonal and metaphysical dimensions. Insofar as metareality is unlikely to resemble that constantly returned to us by mainstream cinema, with its zoo- or anthropomorphic beings and its technical aggregates, the work of Valentin Samarine is, in a way or another, entirely non-figurative and abstract. Valentin Till Maria Samarine-Smirnov (1928) is a representative of Leningrad underground culture, immigrated to France in the early 1980s. His solo photo exhibition Sanki Magic was held in the Moscow Museum of Modern Art. Valentin Samarine was an active participant of the cultural and political life in Leningrad. In 1978, the photographer organized Studio 974, an art gallery in his own apartment. The studio hosted regular exhibitions of Leningrad artists and photographers. An atmosphere of total democracy reigned there. Samarine’s art recorded the key cultural events of the epoch. His photos depicted such significant events, as Andrey Tarkovsky’s burial service in Alexander Nevsky Cathedral, Joseph Brodsky’s performances, cross procession in St. Sergey Metochion. Inspired by Choreographic Miniatures by Leonid Yakobson, the photographer was keen on ballet. He took pictures of many theater and ballet performances. But soon, through the pressure of the Soviet authorities, the photographer had to immigrate to France, where he continued his photo experiments. Samarine called his oeuvre Sanki Art. It was a special technique of the new old silver-based photography. Sanki is an ordnance of the old silver-based photography, metamorphoses of energy projections, invisible in the ordinary photo, metaphysics of invisible projections of the Light and the Shadow of the spiritual world of a person, his passions, said the author. The word Sanki was adopted from Sense energetics, a book about Ancient Chinese philosophy. The notion reveals invisible energy potentials of Time and Space, which determine our earthly existence. This special technique enables the master to display the things that are hidden from the viewers in the ordinary photos. Artworks by Samarine are in the collections of Moscow Museum of Modern Art; the Russian Museum; Yaroslavl Art Museum; the Museum of Non-Conformist Art, St-Petersburg; the State Museum of Urban Sculpture...

New York City is renowned as a center of world-class Museums and tastemaker Art Galleries. However, some of the greatest art is street art mad...

'Venice #9' 2024 A photograph captured with a Polaroid camera. Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, pr...

Wallscape II by Frank Schott from a series of photographic observances capturing urban textures and color palettes 48 x 60 inches / 122cm x 152cm edition of 7 signed 32 x 40 inches...

Stretching Landscapes Series: Nobody, not even the rain (Uruapan, Mexico) Set of 2 works Work 1: Photography in cotton paper premium quality 300gr Work 2: Acrylic on canvas 17x11in e...

An homage to Caspar David Friedrich, towering thunder clouds over the Pacific Ocean, from a series of dramatic cloud atlas observations and abstract skyscapes above the winter sea, c...

Signed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Carrara I...

Mesmerizing abstract color play of muted tones and surreal shapes, from a series of still life works created entirely in camera Caleidoscope II by Christian Stoll 67 x 48 inches (1...

Shuli Sadé, Israeli (b. 1952) Pipe Bending (1995) Hand painted silver gelatin photo print Hand signed in pencil lower right, numbered 1/10 Framed: 23.25 X 29.25 sight, 15 x 19 inches Provenance: Estate of Gideon Gartner Shuli Sade (Shuli Sadeh Goshen) is an Israeli Postwar & Contemporary artist born in Israel in 1952. Shuli Sadé studied at the Bezalel Academy of Art, Jerusalem and the School of Visual Arts. Her work, which uses urban movement as a central theme, explores technology and its potential to impact still, moving, and two- and three-dimensional images. Sadé has lectured at the University of Pennsylvania School of Architecture, Parsons The New School for Design, and Barnard College. Her Sadé's cross-disciplinary artwork blends theory and practice with a focus on memory, space, and urbanism. Her work creates maps of urban memory, reflecting the DNA of a city. She mixes mediums including photography, video, augmented reality, site-specific installations, sculpture, and drawing. Her recent exhibitions include Upstream Downstream, a site-specific augmented reality installation, Riverside Park, NYC, part of Re: Growth, public art exhibition (2021), Fluid Formations, Gensler DC, (2019), Wild_Heterotopias, AR installation at the HighLineNine Galleries, and the High Line, (2019), Solid Red, Galeria Ethra, Mexico City, (2018) Day Dreams, AR installation at Montefiore Medical Center, the Bronx, NY (2017) and group shows including Timing is Everything, Mead Art Museum collection (2018), Making Time, AR installation Index Art Center, Newark, NJ (2019), Anniversario, Datasets, Galeria Ethra, Mexico City (2019) Israeli Modernism in the 1970s from the Collection, Haifa Museum of Art (2016). She had collaborated with Neural scientists at the Neurobiology of Cognition Laboratory, Center for Neural Science, New York University, and with architects and designers across the US. Sadé creates large-scale site-specific murals in the Corporate environment. She is an Israeli contemporary woman artist. Her recent artworks are permanently installed in Manhattan, Philadelphia, Boston, North Carolina., Miami, Mexico City, Jersey City, and more. Sadé received the Pollock Krasner Foundation Grant, (2014), the National Endowment for the Arts Fellowship (1991), New York Foundation for the Arts Emergency Grant (2001), Lower Manhattan Cultural Council Fund, NY- Israel Cultural Cooperation Commission Grant, AICF study grant, NY Art Development Committee grants. Her work is in private and public collections. Shuli Sade is a NY artist and architectural photographer. Sade studio photographed Renzo Piano renovations at the Morgan library, Norman Foster Hearst tower, Weiss Manfredi Nexus at Barnard College, Shiseido at Grey Art Gallery by Marble Fairbanks, Sade works on international commissions, Published in Metropolis magazine, Architectural Digest, Eating Architecture, MIT, Avroko Design, Regan books and others. She lives in NYC and works at her studio at Mana Contemporary, NJ. Her work is represented by Galleria Ethra in Mexico City. Select Exhibitions 2012 Reconfiguring Memory, (permanent installation), Center for Neural Science, New York University 2012 Conference of the Birds, CYNTHIA-REEVES Projects at Mana Contemporary, New Jersey 2011 Conceptualizing the Body Gaze, Masquerade, and Spectacle 2011 ENCODE/ DECODE: Work in Progress, The City of Herzliya Art Gallery, Herzliya, Israel 2009 H20 Film on Water, Brattleboro Museum, Bratleboro, NH 2009 Meeting/Place Cabri Gallery of Israeli Art, Kibbutz Cabri: Yigal Ozeri, Alex Kremer, Ofer Lellouche, Lea Nikel, Moshe Kupferman, Ori Reisman...

This contemporary coastal photograph by Peter Mendelson features a bright pink, orange, and lime green lifeguard stand on Miami Beach in Florida. The modern-looking, circular structu...

"Paradox" is a wildly colorful, abstract painting layered on top of a black and white photographic print. This is a wonderful bold abstract urban New York inspired scene. The piece ...

In the digital age we take photos. Sometimes I am inspired by interesting or beautiful content I see in day - to - day life. I had the idea to incorporate some of these photos into modified prints and incorporated paint. “ Party’s Over ” is the first piece in this process. This cartoon king head was lying in a parking lot in 2021. Beheaded from a Mardi Gras King Cake, I found it perfect timing to take the pic since we had just had a change in the White H ouse and January 6th was still fresh on everyone’s minds. This piece is an original work derived from my own imagination, all reproduction rights are retained by Brad Fuller...