Field #5
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Field #5

by James Cooper

Unmanipulated transparency film image.

Printed on Photo Paper (Open Edition)

Select Print Size

- Museum quality Giclee prints
- Thick, white, matte paper
- Archival inks
- Include a minimum border of 1"
As our prints are custom made to order according to your specifications, all of our prints are final sale and non-returnable.

About The Art

Unmanipulated transparency film image.

About the Artist

"A similar sense of calm informs James Cooper's three renderings of distant horizons. They manage to recall Hiroshi Sugimoto seascapes and color-field painting both."
Mark Feeney, arts writer, reviewer, and editor, Boston Globe

"In his unmanipulated, sweeping American landscapes - captured with transparency film - James Cooper's alluring compositions feature simple shapes and geometries with minimal detail, elevating his work into elegant abstract imagery."
Elin Spring, photography writer, What Will You Remember?

"Cooper's 'Surf Beach Station' is compelling."
Daniella Walsh, art critic

"The fact is that when one stands in front of one of James Cooper's works, one wonders in this era of computer graphics, if his images have been manipulated. The answer is no; they are unmanipulated."
Antoinette Sullivan, Studio Gallery


Suggestive of the American modernism Precisionism movement, the work is characterized by the reduction of compositions to simple shapes and underlying geometrical structures, with clear outlines, minimal detail, unexpected viewpoints and framing, and an emphasis on the abstract form of the subject.

American Precisionists focused on selecting subjects from the American landscape and regional American culture. Many of the same artists applied their new style to long-familiar American scenes, such as agricultural structures and domestic architecture. Even such conventional motifs as a still life of fruit or flowers were treated to a fresh assessment in the Precisionist style. Their paintings, drawings, and prints also showed the influence of recent work by American photographers, such as Paul Strand, who were utilizing sharp focus and lighting, unexpected viewpoints and cropping, and emphasis on the abstract form of the subject.

The style is evident in Ellsworth Kelly's photographs, from 1950s through the 1980s of barns, their interlocking forms evoking the planes of his own paintings and sculptures. Central to many of these images are windows, roofs, and the shadows they cast. He explains that "[...] I'm not interested in the texture of the rock, or that it is a rock, but in the mass of it, and its shadow."

The connections between the Precisionist approach and a wider social context were strong. One view was the utopian ideal of technology bringing order to the modern world by enhancing the speed, efficiency, and cleanliness of everyday life. The opposing view stressed the dehumanizing effects of technology, warning that it would replace workers, create pollution, and dominate the landscape in a destructive manner. Occasionally, these two attitudes coexisted in an ambiguous tension within a single work of art.

"Artist friends would say to me, snickering a little, 'What can a camera do in making art. It is just a camera'. Then one of them asks for help in making an image with a camera (a backlit telephone pole with just the foot pegs lit). We made it, he showed it at Otis (College of Art and Design) and people said 'Wow, that's cool'."

Using just a camera and film, what kind of image can be made?

The photographic image should be an accurate record of what the camera and film captured. And, an image made with film has a certain feel to it. The image should be an experience - it should shift you. Maybe make you smile. Remember when you were a child how a simple little thing could galvanize your entire being - time stood still and you felt totally connected to the world - there was a feeling of total contentment?

A transparency film image processed through standard chemistry, with the absolute minimum disturbance of the captured image during the processing and finishing stages, is the paradigm for an unmanipulated image. So, just a camera and some film.

"It may be assumed that the achievements within a particular medium are the more satisfying aesthetically if they build from the specific properties of the medium."
Siegfried Kracauer, Theory of Film

Additional Print information

Our prints are museum quality prints, that use 100% archival rag paper and archival inks, resulting in beautiful prints with rich and vivid colors. All of our prints include a minimum border of 1" for easy framing. Photographs are printed on a thick, white, matte paper.

The dimensions listed are for the paper size and not the image itself, to give you a better understanding of how much space the print will take up when you hang it on your wall.

Our prints are professionally framed with wood mouldings, archival UV plexi-glass, and come ready to hang on your wall with a hanging wire. Prints can be framed with a 2.75" white mat, or without.

You can view frame dimensions here.

We're excited to offer flat-rate shipping rates of $6.95 for unframed prints and $12.95 for framed prints and canvases shipping within the United States.

We're happy to announce that we now ship to Canada, Australia, UK and Ireland as well. Shipping does not include taxes, duties or any other fees that may be collected at time of delivery.

All of our art, regardless of whether it is framed or not, ships within 7-10 business days. Unframed prints ship in tubes, and framed prints and canvases in boxes, providing extra protection and safe delivery.

As our prints are custom made to order according to your specifications, all of our prints are final sale and non-returnable.