Thierry Le Gouès

Alek Wek, New York 1996

1996

Limited Edition of 25 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...

Limited Edition of 25 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...

Limited Edition of 25 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...

Limited Edition of 25 More sizes on request Sebastian Copeland is considered a photographer "who has created works of outstanding artistic quality and conveys messages of urgent glo...

Edition 10 More sizes on request Close up of Tim. With his 51 years he was by far one of the last remaining big boys in Africa with tusks so long touching the ground. After several ...

Limited Edition of 5 More sizes on request This encounter happened in the very early dawn. The three lion cups were playing in the grass and looked at me very curious. Less than 16,...

Listing is for UNFRAMED print. Edition 1 of 15. CURRENT EXHIBITION - runs through September 4th, 2016. Any framed photographs purchased during the show will be available after September 4th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: Since the early ‘90s, gallerist Robin Rice and designer Antony Todd...

Elder with a tale to tell John uses simple natural light and builds primitive makeshift studios from locally acquired white sheets! The suffuse light allows him to capture a remarka...

A photograph of Mario locked in a harmonious embrace with his trumpet… a moment of magic in a jazz club in New Orleans. James Sparshatt’s photographs of music and dance capture the ...

Every Sunday afro-Cubans gather in the Callejon de Hammel to play the drums and sing the harsh vocals of rumba. The Spirit of the Revolution series documents the generation of Cuban...

Monica Vitti and Michelangelo Antonioni is a vintage black and white photo of the italian actress and the italian movie director Michelangelo Antonioni from the 1960s. Agenzia Nazionale Stampa Associata (ANSA). Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the Academy of Dramatic Art (where she will return in 1986 as a teacher), and graduated in 1953, she immediately tackles the scenes in L'avaro di Molière (1954), The island of the parrots of S. Tofano (1954), They founded a city of C. Meano (1954), Mother Courage and her children of B. Brecht (1954). Between 1956 and 1959 she also participated in television broadcasts and acted in numerous adaptations of famous theatrical texts. She made her film debut playing secondary parts in Laugh, Laugh, Laugh! by E. Anton, 1955; A mink coat by G. Pellegrini, 1956; Le dritte di M. Amendola, 1958. Dubbing actress of Il scido di M. Antonioni (1957), she meets the director who, after having directed her to the theater in I am a camera by J. Van Druten (1957) and in Secret Scandals by Antonioni and E. Bartolini (1957), he calls her as the protagonist in L'avventura (1960), a film with which V. is a leading actress. Always led by Antonioni, from now on she will play suffering characters who embody a profound crisis of feelings. Apart from a brief television parenthesis (a transposition of the short story The White Nights by F. Dostoevskij, directed by V. Cottafavi), La notte (1961), L'eclisse (1962) and Deserto rosso (1963) belong to a happy partnership with Antonioni (who will be revived episodically for the production of The Mystery of Oberwald [1980], a courageous experiment of intertwining cinema and electronic techniques, propitiated by the exhumation of a play by J. Cocteau, L'aigle à deux têtes). In the second half of the Sixties, however, the producers showed that they preferred her as an actress endowed with caricatural flair, fine humor, vitalistic exuberance, communicative immediacy; and audiences pay her a growing success, not always corresponding to the quality of her filmography or the variety of her interpretations, among which are the very convincing ones in Modesty Blaise...

Martha Graham at New York City Center after her final onstage bow - backstage with Madonna and Calvin Klein, October 1990 "Martha was my godmother, and she was posing." - JB Photog...