Art by Medium: Paper

Hidden Valley (Till Death Do Us Part) - 2005 78x77cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Signature label and Certificate. artist Inventor...

Magic Mountain III (Memories of Green) - 2003 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper. based on an expired Polaroid, Artist...

Gasoline III (Stranger than Paradise) - 1999 Edition 10, 120x120cm, analog C-Print, hand-printed by the artist, based on the Polaroid, Not mounted, Certificate and Signature label, artist Inventory No. 271.01 Exhibition photos from the solo show 'Rough Cuts' at the Susanne Vielmetter gallery, LA Projects. The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? In this captivating artwork, we are drawn into the enigmatic world captured by Stefanie Schneider, where a solitary man, lost in his own thoughts, embarks on a journey while engulfed in a cloud of smoke...

Playgirl (Heavenly Falls) 2016, 50x50cm, Edition of 10. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number: 19598. Not mounted. ...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, artist inventory numbe...

Untitled (Last Picture Show) - 2001 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 1268. Not mounted. Insta...

Aliens - triptych - 1998 Edition of 5, plus 2 Artist Proofs. 48x59cm each, 48x190 installed including the gaps. analog C-Print, hand-printed by the artist on Fuji Crystal Archive P...

Snow Flakes (Californication) - 2021 20x24cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Numb...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the ...

Mind Screen (Last Picture Show), 2005, Edition 2/10, digital C-Print based on a Polaroid, Certificate and Signature label included artist Inventory Nr. 1043.11 not mounted LIFE’...

A Wish (Circle of Magic) from the 29 Palms, CA project - 2009 57x70cm, Edition of 10 plus 2 Artist Proofs. digital C-Print based on a Polaroid Certificate and signature label. Art...

Untitled (29 Palms, CA), 1999, 20x24cm, Edition 1/10, Photograph printed on Velvet Watercolor, based on a Polaroid, Certificate and Signature label, not mounted Artist Inventory Num...

In the Range of Light III (Wastelands) - 2003 Edition 4/5, 6 pieces, each 57x56cm, installed 119x181cm, 6 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

Magic Mountain II (Memories of Green) - 2003 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on an expired Polaroid. Signa...

Cups (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 1686. Not mounted. This proje...

Inside the Trailer (Sidewinder), 2005, Edition 1/5, 4 pieces, each 48x47cm, installed with gaps 48x207cm installed including 5cm gaps. Analog C-Prints, hand-printed by the artist, ...

Gestures (Stranger than Paradise) Edition 1/5. 12 pieces, 48x46 cm each, installed: 207x155 cm. 12 Analog C-Prints, hand-printed by the artist, mounted on Aluminum with matte UV...

The River (The Girl behind the White Picket Fencet) - 2015 Featuring Udo Kier Edition 2/10, 48x47cm. Archival C-Print, based on the original Polaroid. Artist inventory #15756.02....

Brooklyn Bridge Sunset (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2572. Not mounted. ...

Magic Mountain 12 (Memories of Green), Edition 1/5 , 58x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Nu...

Boccia (Beachshoot) - 2005 70x135cm installed, including gaps - 8 pieces, 30x30cm each, almost sold out Edition of 100 plus 3 Artist Proofs. Available 100/100, AP 1/3, AP 3/3. Arc...

Waiting (Sidewinder) - 2005 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3173. Not ...

Radha at Fence (29 Palms, CA) - 1999 featuring Radha Mitchell 125x123cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed and enlarged by the artist, based on the P...

Between the Lines - The Getaway (The Last Picture Show) - 1999 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist Inventory #694. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #724. Signature label and Certificate. Not mounted. Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation. Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension. Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice. Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...

Brooklyn Bridge - Henry's Memory Sequence (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 250...

Palm Springs Palm Trees XI (Californication) - 2019 40x40cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Number 22...

First Love (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate....

Brooklyn Bridge 09 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1571. Not mounted. St...

Brooklyn Bridge 06 (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 1568. Not mounted. St...

Daisy in front of Mirror (Till Death do Us part) - 2005 Edition 1/5, 128x125cm. Analog C-Print, hand-printed by the artist, based on the Polaroid, Mounted on Aluminum with matte...

Alphabet Soup (Till Death do us Part) - 2005, 128x127cm, Edition 3/5. Analog C-Print, hand-printed by the artist. based on the Polaroid. Artist Inventory No. 9283.03. Signature...

Hard Luck Princess (Till Death do Us part) - 2005 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid, Certificate and Signature label Artist Invent...

Salton Sea Life (American Depression) - 1999 20 x 20 cm, Edition of 10 plus two artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist I...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

Magic Mountain 1 (Memories of Green) - 2003 Edition of 10, 58x56cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventor...

Dr. Pepper (Oxana's 30th Birthday) - 2010, 38x36cm, Edition of 5, analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, matte surface, based on a Polaroid. ...

Tangerine Dream (Stage of Consciousness) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6289 Not mou...

Ravished (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...

The End of Love - Oxana's 30th Birthday (29 Palms, CA) - 2010 48x56cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the origina...

Palm Springs Palm Trees (Californication) - 2023 20x20cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist I...

Barren (American Depression) - 1997 44x59cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inv...

Circle of Magic (29 Palms, CA) - 2009, 125x156cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid, not mount...

Magic Hour (Musica Poetica) - 1997 44x59cm, Edition 4/10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Arti...

Magic Hour (Stranger than Paradise) - 1999 44x59cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist In...

Treasure II (Stage of Consciousness) 29 Palms, CA, 2007, 75x93cm, Edition 3/5. Analog C-Print printed on Fuji Archive Paper, hand-printed by the artist, based on a Polaroid. Sign...

Love Love Love Love Love (The Girl behind the White Picket Fence), triptych - 2013 20x82cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 3 original Polaroid...

Penny Lane (Chicks and Chicks and sometimes Cocks) - 2019 - 20x24cm, Edition of 10. Digital C-Print, based on a Polaroid. Artist inventory 19141. Signature label and Certificate. N...

Wastelands - Monograph - signed Hardcover, 80 pages, 29,7 x 21 cm, english, linen cover with image imprinted, Edition Braus, 2006 ISBN: 3-89904-211-5-5 editor. Thomas Schirmböck, Z...

'Magic Mountain' (California Badlands), 2016, 24x20cm, Edition 1/10, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory No. 19398.08, not mounte...

Miss Moneypenny (Heavenly Falls) - 2016 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory ...

Marilyn aka Jane Bond (part 2) (Heavenly Falls) 2016 - 20x20cm, Edition 7/10. Archival C-Print based on a Polaroid. Certificate and signature label. Artist inventory number: ...

Oasis XV (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #301...

My Girl (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

Stefanie Schneider's Mini Saigon (Stranger than Paradise) - 2003 signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2023...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

Oasis IX (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #300...

Morning Glory (Till Death do us Part) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Ar...