Stephen Mallon, limited edition C-Print photograph
signed and editioned on reverse.
available as:
20"x30" (1-5/5 available) unframed
30"x45" (1-5/5 available) unframed
40"x60" (1-5/5 available) unframed

Pricing Structure:
20x30 prints: #1-3, $2150; #4, $3225; #5, $4300
30x45 prints: #1-3, $4200; #4, $6300; #5, $8400
40x60 prints: #1-3 , $6000; #4, $9000; #5, $12000

Stephen Mallon C-Print Photograph available as:

10”x30” (limited edition of 10) $1,050 USD

15”x45” (limited edition of 10) $2,100 USD

20”x60” (limited edition of 10) $3,000USD 

signed and editioned on reverse, please inquire about framing options

Stephen Mallon, limited edition C-Print photograph
signed and editioned on reverse.
available as:
20"x30" (1-5/5 available) unframed
30"x45" (1-5/5 available) unframed
40"x60" (1-5/5 available) unframed

Pricing Structure:
20x30 prints: #1-3, $2150; #4, $3225; #5, $4300
30x45 prints: #1-3, $4200; #4, $6300; #5, $8400
40x60 prints: #1-3 , $6000; #4, $9000; #5, $12000

Thomas Broadbent

Vesta Landscape, 20”x28 1/2”

watercolor on 8 paper panels

framed, floated in natural wood shadowbox frame

framed dimensions: 25.5”x33”

$4200

Thomas Broadbent
22"X30" silkscreen on Arches 88 paper; signed limited edition of 20.  

$650USD

40”x29.5” watercolor on paper
signed on reverse
$7,500.00 framed (presented in a shadowbox frame)

Thomas Broadbent has shown extensively throughout the U.S. as well as internationally. Broadbent’s work won the Pulse Prize for best solo booth at Pulse Art Fair. His work was subsequently featured in “Mission to Space” at the Children’s Art Museum in Manhattan. His nine-foot long “Lunar Mosaic” painting hangs in the American Consolate building in Moscow. His work is in the permanent collection of the National Museum of Wildlife Art. Broadbent’s numerous solo exhibitions include the Visual Art’s Center of New Jersey, Croxhapox Gallery (Gent, Belgium) Voorkamer Gallery (Lier, Belgium) Inspace gallery (Beijing, China) and the Newark Arts Council. Broadbent’s work has been reviewed in The New York Times, The New Jersey Star-Ledger, NY Arts, The Brooklyn Rail and numerous other publications.

Sasha Bezzubov
Palestine/Israel. 2010
from the series, “we are the kings and queens of narnia.”

24”x30”      $3,000

40”x50”     $6,000

edition 1 of 5

Frame/Mounting Prices

24”x30” $400

40”x50” $800

Sasha Bezzubov
France, 2019, photograph
from the series, “we are the kings and queens of narnia.”

24”x30”      $3,000

40”x50”     $6,000

edition 1 of 5

Frame/Mounting Prices

24”x30” $400

40”x50” $800

Sasha Bezzubov
Oregon, 2021, photograph
from the series, “we are the kings and queens of narnia.”

24”x30”      $3,000

40”x50”     $6,000

edition 1 of 5

Frame/Mounting Prices

24”x30” $400

48”x60” $1,200

we are the kings and queens of narnia 

When our son Niko was two months old, we went to Costa Rica. We carried him in a backpack, close to us. We went to the Caribbean coast, but the hurricane season was in full swing, so we changed our plans and took a twelve hour bus ride to the Pacific. It was tricky to travel with an infant, but the locals, seeing how far we had come with a newborn, were extra helpful and somehow we made the best of it. When Niko turned three we decided it was time to go on a long hike. That winter we went to a volcanic island in Nicaragua and spent a week walking around its periphery. My wife Jessica carried Niko in a backpack and I carried everything else, which consisted mostly of a massive bag of Diapers.

Walking all day has the effect of reducing everything to the very basic and elemental. Where will you sleep? What will you eat? How long is the walk that day? How challenging is the terrain? When life becomes this simple you tune everything nonessential out and just concentrate on a task at hand. Your daily routine becomes how to satisfy several basic but vital necessities, and you are too tired to think of much beyond that. It’s a respite from so many tasks, and thoughts, and confusions of daily life. It's like the classic Zen story, about when a student asks his teacher, “What is enlightenment?” and the master replied, “When hungry, eat. When tired, sleep.” Sometimes neither is possible, so you talk about eating and sleeping and fantasize about all sorts of luxuries unattainable at the moment. And when you finally arrive at a place where those luxuries are available, you’re flooded with a great sense of appreciation. 

We walked from one village to the next, knowing there would be some place to stay, but having no idea how it would be or what it would look like. Each day was a complete discovery and we all fell into a kind of rhythmic trance. Niko hung in the back and pointed at things he saw, made approving sounds and sometimes even said things. Each day we improvised. There were no cribs, all the beds were high off the floor and the floors were hard tile or cement. One night we woke up to a scream in the middle of the night. Niko had rolled off the bed and fell onto the hard tile floor, surprising himself and us. The following night we made a platform of pillows around the bed and from then on we collected him from the floor each morning. 

And so, we traveled as a family, the three of us, mostly to places where we could walk for days, sometimes weeks on end. This became our annual or semi-annual ritual. During those weeks we became very close and shared such intimacy that I cannot imagine life, or family life, without it. There’s nothing more intimate than becoming hungry together and knowing that you need to cross this hill and walk for another 5 kilometers before someone is kind enough to cook for you. Or talking for days on end about blisters that won’t heal. Or riffing on some silly joke over and over as you walk through the Spanish countryside. Traveling like this and walking was something Jessica and I had done as a couple before becoming parents, but we also wanted to share this with Niko, to make it a part of his world.

When Niko was six we were in Mexico, walking in the Oaxacan mountains, crossing countless streams. At first, we stopped at each stream and removed our shoes and held them in our hands as we crossed. We soon tired of this pointlessness, so we just left our shoes on and let our feet get wet. This was not supposed to be a very long or arduous walk, but as sometimes happens, the farther we walked the more we wanted to keep going. We knew this path was leading somewhere and somewhere along the way, the advantages of turning around and walking all the way back, seemed to recede. 

We had been reading The Lion, the Witch and the Wardrobe out loud to each other in bed for days and on this adventure, we imagined ourselves transported into our own magic kingdom. At some point during this hike, maybe when we needed some extra encouragement, we put our hands together and came up with the chant, “we are the kings and queens of narnia”. This became our little pact and battle cry. 

The photographs of our family’s travels are combined with images made during travels and long distance walks over the past 25 years, while traveling with my family, or alone. Among these photographs are various attempts to consider travel, especially independent travel in the developing world, as both personally liberating and, let’s just say it, fun, but also historically, economically and culturally, problematic. Especially in the developing world where travel is unbelievably cheap and travelers can spend months and years on the road with their meager Western savings, this activity moves uncomfortably close to a form of neo-colonialism. This is the kind of travel I'm most interested in, the kind that 'backpackers' do, the kind that I've always done, because it’s often seen as a more benign and sustainable alternative to mass tourism - a much uglier and problematic phenomenon. But when all the millions of independent travelers are added up, their impact on the world - cultural, economic and political -  is very significant. 

The global inequality at work that allows a young American to go to Guatemala on a yoga retreat, but forces a Guatemalan to risk her life on a perilous journey through Mexico and then a Texan or Arizona desert is hidden in plain sight, but at the very root of travel. And whether we join a tour group or not, the environmental footprint of our flight to Kathmandu is just as harmful. And yet, like the pleasures capitalist consumption brings, I can’t see myself giving this up. 

It’s the fact that independent travel is not all good and not all evil, that its benefits and its damage are not so easy to tease apart, that I find so compelling as a subject. For my whole adult life, I've been this kind of traveler, and the reality is that I'm unwilling to give up the freedom it offers and the experiences it provides. At the center of we are the kings and queens of narnia are the photographs of my family taken since Niko’s birth in 2008, as we travel and hike in different parts of the world. Arranged in a chronological order, they show, if nothing else, the passage of time. These images are coupled with photographs made all over the world that concern aspects of travel and tourism addressed through various bodies of work from 1997 to the present, as well as many images made for projects that never materialized and are seen for the first time. These include, The Gringo Project, Expats & Natives, The Searchers (Parts I & II), The Searchers (Part III, The Beatles Ashram), Sad Tropics, and The Porters.  These projects are various ways in which I’ve attempted to address travel and traveling populations, the utopian communities they found and the local workers that make it all possible.

This year Niko turned fourteen. He has now traveled to more than a dozen countries and has hiked over a thousand miles in Europe, Central America, Asia and the US. Being a teenager, I don’t know how much longer he will be interested or willing to travel with us. Whereas when he started to hike we had to walk short days in order not to overburden him, he can now easily run past us, wait at the top of the hill and make it seem completely effortless. During our last hike he said, in his sweet way and careful of our feelings, that it’s not that he doesn’t want to keep hiking, but next time he may not want to hike for an entire 2 or 3 weeks and may want to do other things instead. So this transition seems like the right time to close this chapter. For now.

Mark Masyga, 2021

35.75 x 26.75” (oil, graphite on canvas)

$3200USD

Someday the Right Day
oil and graphite on canvas
48"x60"
$6,500

Mark Masyga, Water Short, Scotch Tall, 2022

27"x35", oil and graphite on canvas

$3,850 USD

Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000

Phillip Buehler Box Set of 6 Photographs from "Mallrat to Snapchat: The End of the Third Place"

$1,375.00

Included in this artist’s portfolio box set are six 12”x12” or 9”x12” limited edition photographs presented in a metallic embossed archival artist box.

Mallrat to Snapchat: The End of the Third Place,” is a series of photographs by Phillip Buehler documenting the death of the Wayne Hills Mall in Wayne, New Jersey. Buehler’s photos of iconic hangouts and lowbrow teenage meeting places ring out from the 1970’s, 80’s, and 90’s but are torn away from their movie soundtracks and sent into an apocalyptic icy future. Featuring Sam Goody, Waldenbooks, Toys R Us and many other familiar mainstays, Buehler shows these places ravaged and destroyed, familiar and frightening—a modern momento mori.

Phillip Buehler, unframed photograph
limited edition archival pigment print, signed on reverse by the artist
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000

color photograph,

17”x20.5” (edition of 5) $1625 unframed, $1950 framed
35”x42” (edition of 3) $4750 unframed, $5650 framed

Amsterdam, Netherlands, 2004
Sean Hemmerle

Pigment Print

11 × 14 in | 27.9 × 35.6 cm

$250

Working on his own or on assignment for top publications, Sean Hemmerle focuses principally on architecture and urban landscapes in crisp, color photographs. He approaches these manmade structures and settlements with a keen eye for their distinctive formal qualities, as well as for the stories they convey about the people who have used, abandoned, or, sometimes, fought bitterly over them. He has captured war-affected Middle Eastern cities, luxury corporate headquarters in American cities, the changing face of Shanghai, and journalists at work in newsrooms. Hemmerle’s photographs provide a remarkably palpable sense of place; in one understated series, he shot isolated basketball nets in North America, Europe, and the Middle East, each set into markedly different surroundings, and altered by the affects of time.