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Gallery Photo Frames

Geraldo de barros

Geraldo de Barros, Untitled (Tatuapé, São Paulo), 1948, 20h x 24w
Geraldo de Barros, Untitled (Tatuapé, São Paulo), 1948, 20h x 24w

photo frames

102WA_matching splines _strainer

102UT walnut photo frame,  clear finish, strainer

About the photographer
The Fotoformas of Geraldo de Barros (1923-1998) were created from the late-1940s through early 1950s, largely in São Paulo. As fitting this period of intense urban growth and industrialization, de Barros’ series of photographs captures a city in flux. But this was not a heroic, productivist vision of a mechanized city. Instead, the Fotoformas present a strangely heterogenous array of subjects: a torn and stitched canvas loosely hung across the picture plane, a graffito of an angel, spiraling geometries of iron and glass, a woman’s bare derrière, balloons caught in wires against a clouded sky.

Michael Patrick O'Brien

 © Michael Patrick O'Brien "Papa" ,inkjet print, 32" x 40 "
© Michael Patrick O'Brien "Papa" ,inkjet print, 32" x 40 "

photo frames

101 maple, white finish, spacer, & strainer

101 maple photo frame,  white painted finish, spacer, strainer

About the photographer
A photographer of things, people, and spaces who owes as much to the practitioners large format photography as to representational painters such as Catherine Murphy, John Singer Sargent, and Fairfield Porter, Michael Patrick O’Brien images people and places known to him, primarily family, in an ongoing and open ended body of color photographs. This image-by-image engagement with familiar people and places forms a consistent practice within his broader work as an artist.

R. J. Kern

 © R.J. Kern "Annabelle & Friend, Anoka County, MN, USA", archival pigment print, 24.5" x 32"
© R.J. Kern "Annabelle & Friend, Anoka County, MN, USA", archival pigment print, 24.5" x 32"

photo frames

101 maple white finish, 3/4" spacer, 1/2" strainer

101 maple photo frame, white opaque finish,  spacer, and strainer

About the photographer

Kern’s photography is firmly rooted in presenting the human affect on the landscape and an inquisitive exploration of humanity through man’s relationship with domestic animals.

“Kern’s evocation of nature as a device to understand his own sense of self draws upon historical precedence: the use of animals as metaphor and the pastoral tradition. yet the artist’s broad concept—his exploration of identity—is firmly grounded in a contemporary context. This tightly knit series of images, which together characterize the author, is common to our age of social media. Kern’s aesthetic, however, emphasizes clarity and projects a warm stillness that is a balm to an overstimulate society. This contrast, too—the ties to digital media and the rejection of its characteristics—deepens his pastoral project.” .—Lisa Volpe, Associate Curator, Photography, The Museum of Fine Arts, Houston.

Paul Raphaelson

 © Paul Raphaelson "Sweet Ruin Bin Distributor", 27" x 40", archival pigment print
© Paul Raphaelson "Sweet Ruin Bin Distributor", 27" x 40", archival pigment print

photo frames

101 maple pickled white finish, spacer & strainer

101 maple photo frame, pickled white finish, spacer, strainer

About the photographer
In 2013, Paul Raphaelson received permission from the developers of the Domino site to explore every square foot of the refinery just weeks before its gutting and demolition. Raphaelson is the last photographer given access to the factory.

atsuko morita

Photographer: Atsuko Morita
Photographer: Atsuko Morita

photo frames

 

101 maple clear finish & spacer
101 maple clear finish & spacer

About the photographer
Using a pinhole camera I crafted specifically for this project, I have captured one moment from each day in my life. The photos are clustered by month, with a small portion of the negative exposed for each calendar day.

Herman Mhire

 © Herman Mhire "Rue de Buci 1”, archival pigment print, 29” x 21.5”
© Herman Mhire "Rue de Buci 1”, archival pigment print, 29” x 21.5”

photo frames

About the photographer

"My current body of work is based upon photographs I took in the spring of 2017 on my way to the Taschen bookstore on the rue de Buci in the 6th arrondissement of Paris. As I walked by a vacant boutique whose windows had been whitewashed from the inside, I observed broad white brushstrokes merged with reflections of facades on the opposite side of the street. Remnants of posters taped to and subsequently torn from the boutique windows were juxtaposed with voids permitting views into the boutique's interior where discarded furniture had been stacked haphazardly. I was intrigued by the multiple levels of reality before me and began to make new images based upon this experience.”

Herman Mhire

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