Hurricane LIV, 2009/2011

Clifford Ross's Hurricane series captures tumultuous ocean waves shot by the artist in the water while tethered to an assistant on land. Ross says, "Why waves and hurricanes? They're bigger than me. Nature is bigger than me…Ultimately I realized that I was reflecting on memories from my childhood, being slammed by the waves off Long Island when I was body surfing. To some extent, there's a notion that when you take a picture, you have codified and controlled an event. So photographing the sea during a storm echoes certain childhood experiences from a safer perspective, from a position of relative control." Seventy percent of the proceeds from this sale will benefit charity: water, a non-profit organization bringing clean and safe drinking water to people in developing nations.

There are very few artists who are able to capture landscapes with the same elegance, precision, and sense of abandonment that is present in all of Clifford Ross's work. A virtuoso not only with his camera, but also with invention and technology, Ross's works speak to anyone interested in new media and the way that it can be utilized to create astounding reproductions of untamable nature.

Ross began his career as a painter and sculptor after graduating from Yale in 1974. In 1995, he turned his attention toward photography and other media. Frustrated by the lack of detail available with existing cameras, Clifford Ross invented and patented the "R1" camera in 2002 and made some of the highest resolution large-scale landscape photographs in the world.

His current work includes a stained glass wall for the new federal courthouse in Austin, Texas and he recently completed Harmonium Mountain, an animated, computer-generated landscape video, with an original score by Philip Glass. In numerous public collections, his work can be seen in the Museum of Modern Art, the Metropolitan Museum of Art, the J. Paul Getty Museum, the Solomon R. Guggenheim Museum, and the Museum of Fine Arts, Houston, among others. His book of photographs, Wave Music (Aperture 2005), includes an essay by philosopher Arthur Danto and an interview by novelist A.M. Homes.

All our frames are manufactured in the USA, using eco-friendly and sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

• 1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.
• We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

For sheet sizes larger than 30” x 40" please contact an Artspace advisor for a custom quote.

Our art editions ship in 7 to 10 business days from New York.

Our framed art editions ship in 11 to 14 business days from New York.

This work is eligible for return within 30 days of receipt of delivery.

Questions about this work?

Interested in other works by this artist or other artists? We will source them for you.

Contact an Artspace Advisor at advisor@artspace.com