California native Louis Waldon was best known as one of Andy Warhol’s “Superstars” and collaborated with the artist and film director from the 1960’s until Warhol’s death in 1987. An actor by trade, Waldon appeared in a number of Warhol’s avant-garde films, thrusting him into the Silver Factory’s most creative and productive years and into American pop-culture lore.
Waldon was actively involved in the fabrication of Warhol’s work, most notably his famed silkscreened images - which Waldon continued to create on his own until his death in 2013.
For over four decades, acclaimed photographer Norman Seeff has documented pop-culture history and produced some of the most iconic and enduring images of the world’s cultural icons.
Born in South Africa, Seeff arrived in New York City in 1968 and began shooting people he’d encounter on the streets and at parties, including Robert Mapplethorpe, Patti Smith, Andy Warhol and Johnny Winter. An introduction to graphic designer Bob Cato led to an assignment to shoot photos of The Band at Woodstock in 1969 – his first big gig. Seeff got lost on the way to the festival, arriving an hour late, but managed to capture a photo that ended-up as a poster in the “Stage Fright” album. “And suddenly I have an image in every bar in town. Every club. Every record store,” says Seeff.
He soon became Creative Director at United Artists Records, where he received 5 Grammy nominations for cover design, before opening his own studio on Sunset Boulevard in Los Angeles – in the space now home to the famed Bar Marmont.
Seeff’s photographic sessions during the 1970’s and 80’s became legendary sessions of celebration and creativity, attracting audiences of celebrities, and his images have contributed to the visual lexicon of the era and are included in some of the most prominent collections in the world.
Our limited edition prints of Norman Seeff’s classic images are produced under his supervision at his studio in Burbank, California.
Julian Lennon, son of John Lennon, has always felt that he has observed life differently, perhaps because his path through life has been so unusual. Nothing could be more apparent, as he reveals to the viewer his keen eye for composition and his gift for capturing an intimate moment. Julian seeks to depict his personal journey as an artist in the midst of unique life experiences.
Daniele Albright’s work explores phenomena at the edge of visibility, whether directly as subject matter, or indirectly through a concern for the relationship between perception and cognition in the process of viewing. Interested in collapsing the contradictions between form and formlessness, her focus is on the immaterial as the indeterminate and shifting space between perception and the material world. A formative influence on her work was Lyotard’s 1985 Paris exhibition Les Immateriaux, which documented the rise of the immaterial as a defining factor of contemporary life. From the cultural habitation of ephemeral digital spaces to technology’s ability to map previously invisible phenomena, the more visual our culture becomes, the more, paradoxically, it immerses itself in the realm of the immaterial.
Paul Rusconi’s work is often comprised of portraits, usually of those who make up and influence popular culture, ranging from musicians and artists, to poets and politicians. Other themes in the work include the use of language and text, as well as images that are circulating through the myriad of media that we are confronted with daily, from magazine covers to video news feeds.
A recurring element throughout “Deep North” is the shotgun. What began as an interest in shotgun houses – small homes so-named because of how all the doors and hallways directly align – evolved into a literal use of the shotgun as a vehicle for creating art.
In “Deep North” the artist freezes life and action both literally and figuratively. Images of an ice-drenched shotgun house create a series of eerily serene tableaus. Sensual, abstract sculptures are revealed to be casts of actual gunshot blasts. An eight-minute film, entitled “Deep North” depicts a surreal, fantastical world, where bundled up characters repeatedly pass tubes of ice from one end of a shotgun house to the other.
Larson uses gunshot blasts to create artwork like traditional artists might use a paintbrush or chisel. In “Deep North” he creates mixed-media sculptures, images and other artworks by literally shooting objects repeatedly and then capturing or reconstructing the aftermath. His works, created in such a violent fashion are disturbingly upbeat,
As a part of an ongoing text series, “There are people...” is an investigation into the emotional and physical relationships we have with language in conjunction with materials that speak to my own queer identity. Through the meditative process of hand-stitching individual sequins through two layers of nylons, I present a visually appealing elucidation that references the unfortunate psychological effects brought on by the vulnerability we oftentimes share with others. All that glitters is not gold, and those who love us can leave us.