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Stefanie SchneiderRadha Leopard Dress II - Contemporary, 21st Century, Polaroid, Figurative, Woman1999
1999
$500
£380.74
€438.41
CA$708.54
A$762.14
CHF 407.31
MX$8,983.46
NOK 5,135.22
SEK 4,694.57
DKK 3,275.67
About the Item
Radha Leopard Dress II (29 Palms, CA) - 1999
20x20cm,
Edition 7/10,
Archival C-Print, based on a Polaroid
Certificate and Signature label,
Not mounted.
Artist Inventory Number 795.19
Featuring the Australian actress Radha Mitchell
Instantdreams Gallery and Stefanie Schneider:
THE GREATER THE EMPTINESS THE GRANDER THE ART by Stefan Gronert
Not “Twenty-six Gasoline Stations” but “29 Palms, CA”! Forty-two years after Ed Ruscha’s legendary book, there is no gasoline station at the beginning of the book that is here at hand. Instead it is the open-hearted Radha – with orange hair, pink-colored overalls and a bashful, or rather cunning, gaze that is directed downward – with which this book begins! And with her and with Max – attention: a woman –, one whose appearance is in accordance with the same styling, it comes to an end as well – after Radha has in the meantime colored her fingernails pink, again endowed with the same openheartedness and the same look which now, however, reveals in combination with her altered facial expression an “old-maidish” turning away from the viewer. This may serve as an example for a vivid and understandable transformation which flows into a large-scale representation of a cheerless settlement beneath a shining, blue sky – there a figure, lost straightaway, becomes overwhelmed.
Pictures which in 1998/99 play in the harsh California sunlight or in spaces that are not exactly cozy and comfortable. “Play” is the correct word in this regard, for precisely in view of the pictures of persons, there remains more than just doubt as to whether we are looking at staged scenes or have simply happened upon the high-strung “reality” of a (wannabe) film world. Yet not all the pictures have the same character of a glaring, plastic world. Upon flipping through the pages, we also encounter unpretentious, literally “colorless” scenes in undefined interiors, or unspectacular views resembling a still life and opening out onto a nowhere land. That which connects all participants in these picture-worlds is the observation that they appear to be exhausted, lost, empty or uncertain about their existence. One is almost reminded of the empty gazes and loneliness of the protagonists in the pictures of large cities painted by Manet or Degas in the era of Early Modernism.
With one exception, all the photographs which are reproduced here, which originally measure 60 by 70 cm but which here, in their present size and configuration, make productive use of the possibilities presented by the medium of the book, manifest several elements of B-movies: smoking, naked, made-up and muscular persons who are not inclined to conform entirely to the vision of Hollywood dreams. Beauty and vexation, eroticism and loneliness enter into a mixture which reveals the rift between desire and truth. From a distance, one is reminded of the “Untitled Film Stills” of Cindy Sherman, which in this regard are not nearly as drastic. Yet whereas her photos from the seventies are characterized by a cool, objective mode of representation in historicizing blackand-white, the photographs of Stefanie Schneider evince a soft, sometimes seemingly pictorial visual language with a coloration ranging from the pale to the artificial-glaring. As in many other pictures of Stefanie Schneider which often present themselves to us as sequences, these photos refer back as well to the perceptual stereotypes of film. Making use of instant photography, proceeding from which significantly enlarged C-prints come into being, her pictures summon up the impression of a narration without ultimately becoming part of a plot that is readable in a linear fashion. The illusion of the narrative element, however, simply enhances the experience of a renunciation of just this aspect. For the picture titles as well – and also the title of this publication – provide no real help with the imaginary construction of a story.
Nevertheless, names return which include the first name of the artist herself: hence is everything not in fact a game but rather a series of authentic and instantaneous images, or is it after all nothing other than a staging, a game – how real is life? The paucity of plot elements, which contradicts all expectation of a cinematic style, as well as the emptiness and loneliness of the persons, enters into a peculiar, sometimes seemingly surreal association with the magic of the sun-drenched expanses of the dreamlike landscape. Just as the fantasy and imagination of the viewer are stimulated, so to the same great extent does the redemption of these visual figures of love founder on a void whose glaze is created, not least of all, by the peculiar blurriness of the photographic representation. The seemingly amateur character of these pictures, which have in no way been treated with any excessive scrupulousness, leaves us with a stimulating incertitude as to their interpretation, one in which the spheres of reality, fiction or dream are scarcely capable any longer of being differentiated. Thus the gaps and the scenic openness of what is presented ultimately set in motion a self-appraisal.
So what remains after “29 Palms, CA”? Perhaps that hope which deviates from the saying of Ruscha that is quoted in the title: The stronger the photography the better the reality will be!
Translated by George Frederick Takis
Stefanie Schneider lives and works in the Southern Californian High Desert where her scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters.
Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction.
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen, Bombay Beach Biennale 2018.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:1999
- Dimensions:Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement Style:
- Period:
- Condition:Mint, new.
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU65238605762
Stefanie Schneider
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018, 2019.
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Located in Morongo Valley, CA
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Radha Leopard Dress II (29 Palms, CA) -21st Century, Polaroid, Figurative, Woman
By Stefanie Schneider
Located in Morongo Valley, CA
Radha Leopard Dress II (29 Palms, CA) - 1999
40x40cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Certificate and signature label.
Artis...
Category
1990s Contemporary Color Photography
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Radha Leopard Dress III - Figurative, Portrait, Polaroid, Photograph, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
'Radha Leopard Dress III' (29 Palms, CA)
Edition 3/10, 20x20cm, 1999,
digital C-Print, based on a Polaroid.
Signature label and Certificate.
Artist inventory 18258.03.
Not mounted.
Featuring Australian actress Radha Mitchell.
Living and working in Los Angeles and Berlin, Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters.
Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction.
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen.
“It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”)
Selected Exhibitions
2019
Participating and curating the newly founded Polaroid Museum at the Bombay Beach Biennale 2019 (G)
invited project at Saatchi's The Other Art Fair, LA - Polaroid Curation
Instant Dreams USA film release March/April NYC, L.A.
2018
participating and curating Bombay Beach Biennale 2018 (G)
Rough Play Project, Available for all, Joshua, Tree, USA (G)
2017
BLICKFELD] Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog)
Kunstverein Bad Homburg Artlantis, Bad Homburg (G)
2016
Instantdreams, Instantdreams Gallery, Berlin
(S)
2015
Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky
Blue Nudes, De Re Gallery, Los Angeles (G)
2014
Summer Show, Galerie Catherine et André Hug, Paris, France (G)
6 Finalists, Saatchi Gallery London (G)
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
2013
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images
For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region, Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog)
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
Heather's Dream, Short, German Competition Short Film Festival Oberhausen
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth, Philip-Lorca diCorcia, Charles and Ray Eames, Robert Mapplethorpe, Lisa Oppenheim, Andy Warhol and others, (catalog)
Road Atlas - Straßenfotografie, DZ Bank Collection: Kunsthalle Erfurt (Spring), Art Foyer DZ Bank, Frankfurt/Main, (G) with Helen Levitt, Pieter Hugo, Nobuyoshi Araki, Pietro Donzelli, and others (catalog)
2012
Stranger Than Paradise, Christian Hohmenn Fine Art, Palms Desert, (S)
Stefanie Schneider, Gallery at Cliff Lede Vineyards, Napa Valley, CA, (S)
Bienale Art Auction 2012, Museum of Contemporary Art San Diego, (G), with Ai Weiwei, John Baldessari, Christo, Ed Ruscha, Christopher Russell...
MUSES, Galerie Catherine et André Hug, Paris, France (G)
Polaroid (IM)POSSIBLE - THE WESTLICHT COLLECTION, NRW Forum
Kultur und Wirtschaft, Düsseldorf (G), (catalog)
Road Atlas - Straßenfotografie, DZ Bank Collection: Kunstmuseum Dieselkraftwerk, Cottbus, (G), (catalog),
Studio Scholorship, Centro Cultural Andratx, Mallorca, May
2012
Selling Sex, ShowStudio Gallery, London (G) with Cortney Andrews, Una Burke, Liz Cohen, Inge Jacobsen, and others
Stranger Than Paradise, Scott White Contemporary, San Diego, (S)
2011
Kunst zu verlosen ! // Art to raffle off !, KW Institute for Contemporary Art, (G) with Monica Bonvicini, Tim Eitel...
Category
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