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Medium: Photographic Paper
Artist: Stefanie Schneider
Valley Vista (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Valley Vista (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 864.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dodger Stadium (The Last Picture Show)
Located in Morongo Valley, CA
Dodger Stadium (The Last Picture Show) - 2000,
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Revisions (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Revisions. (Deconstructivism) - 2020
- about the narrative potential of images.
20x24cm,
Edition of 10,
Archival C-Print, based on the Polaroid,
Artist Inventory 15714.
Signatur...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Jane
s Place - 29 Palms, CA based on a Polaroid Original
Located in Morongo Valley, CA
'Jane's Place' 29 Palms, CA,
Edition 1/5, analog C-Print on Fuji Crystal Archive Paper,
70x80cm
Mounted on Aluminum, hand-printed by the artist, enlarged from a Polaroid.
THE GRE...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Photographic Paper, C Print, Polaroid
Frozen IV (Last Picture Show)
Located in Morongo Valley, CA
Frozen IV (Last Picture Show) - 2001
20 x 20 cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid
White Picket Fence (The Last Picture Show)
Located in Morongo Valley, CA
White Picket Fence (The Last Picture Show) - 2006,
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature labe...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Indian Summer VII (The Last Picture Show)
Located in Morongo Valley, CA
Indian Summer VII (The Last Picture Show) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print print, based on the Polaroid,
Certificate and Signature label
Arti...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Owen
s Valley (Last Picture Show)
Located in Morongo Valley, CA
Owen's Valley (Last Picture Show), 20 x 20 cm, 2001
Edition 5/10, digital C-Print based on a Polaroid,
Artist Inventory 1088.05, not mounted
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 dream scapes. 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”)
Exhibitions Selected (selected)
2018
Participation Bombay Beach Biennale, Bombay Beach, USA (G) March
Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid
After (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
After (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 18799.
Signature label and Certi...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Outback Dreams (29 Palms CA)
Located in Morongo Valley, CA
Outback Dreams - 29 Palms, CA - 2010
50x130cm.
Archival C-Print, based on the 3 original Polaroids.
Signature label and certificate.
Artist Inventory # 1933.
Not mounted.
THE G...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Before (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Before (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 18740.
Signature label and Cert...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Silver Bullet (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Silver Bullet (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23475.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
From Now On (The Last Picture Show)
Located in Morongo Valley, CA
From Now On (The Last Picture Show) - 2005,
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
Art...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
29 Palms Oasis (29 Palms, CA) - including the book
A Half Forgotten Dream
Located in Morongo Valley, CA
29 Palms Oasis (29 Palms, CA) - 2013
Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024.
20x24c...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Jack
s Place (Sidewinder) - including the book
A Half Forgotten Dream
Located in Morongo Valley, CA
Jack's Place (Sidewinder) - 2005
including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by Snap Collective, 2024.
20x20cm,
...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sherry
s Place (29 Palms, CA) - 21st Century, Polaroid, Contemporary, Landscape
Located in Morongo Valley, CA
Sherry's Place (29 Palms, CA) - 2007
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Signature label and certificate.
Artist Inventory 4527...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Mindscreen 7 - Contemporary, 21st Century, Polaroid, Los Angeles, Night
Located in Morongo Valley, CA
Mindscreen 7,
1999, 58x56cm, Edition 3/10.
Analog C-Print, hand-printed by the artist, based on an expired Polaroid.
Signature label and Certificate.
Artist Inventory No. 248.03.
No...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Small Town (The Last Picture Show) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Small Town (The Last Picture Show) - 2000
20x20m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Frozen XII (Stranger than Paradise)
Located in Morongo Valley, CA
Frozen XII (Stranger than Paradise) - 2001
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invent...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Showboat (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Showboat (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22875.
Signature label and Ce...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Purple Valley (Wastelands) - Contemporary, Landscape, Polaroid, Analog, mounted
Located in Morongo Valley, CA
Purple Valley (Wastelands) - 2003
57x56cm,
Edition 4/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Artist inventory Number 6...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Metal
Time Traveller (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Time Traveller (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory N...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Without You (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Without You (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 934.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunset (Stranger than Paradise)
Located in Morongo Valley, CA
Sunset - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4630.
Not mounted.
The...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Brilliant Shadow (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Brilliant Shadow (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22720.
Signature labe...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
It
s Going to Be OK (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
It's Going to Be OK (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23890.
Signature l...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Getaway (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
The Getaway (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23256.
Signature label and...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Springs Palm Trees (Californication) - Polaroid
Located in Morongo Valley, CA
Palm Springs Palm Trees (Californication) - 2023
40x40cm.
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist I...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Springs Palm Trees X (Californication)
Located in Morongo Valley, CA
Palm Springs Palm Trees X (Californication) - 2019
38x37cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid. ...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Magic Hour (Musica Poetica)
Located in Morongo Valley, CA
Magic Hour (Musica Poetica) - 1999
Edition 3/10,
44x59cm.
Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid.
Certificat...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hidden Valley (Wastelands)
Located in Morongo Valley, CA
Hidden Valley (Wastelands) - 2003
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 1992.
Signature label a...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Blue Day (Wastelands)
Located in Morongo Valley, CA
Blue Day (Wastelands) - 2003
38x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Artist inventory Number 837.
Signature label and c...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunset (Zuma Beach)
Located in Morongo Valley, CA
Sunset (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory # 119.
Not mount...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Fall (The Last Picture Show)
Located in Morongo Valley, CA
Fall (The Last Picture Show) - 2006,
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
Artist Inv...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Lifeguard (Zuma Beach)
Located in Morongo Valley, CA
Lifeguard (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory #499.
Not mou...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Seagulls (Zuma Beach)
Located in Morongo Valley, CA
Seagulls (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory # 107.
Not mou...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Tree Restaurant (Stranger Than Paradise) - Polaroid
Located in Morongo Valley, CA
Palm Tree Restaurant (Stranger than Paradise) - 1999
40x40cm.
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Arti...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Up up and away (Stranger than Paradise)
Located in Morongo Valley, CA
Up up and away - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artis...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Wonder Valley (Till Death Do Us Part) - Contemporary, Polaroid
Located in Morongo Valley, CA
Wonder Valley (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.
Art...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Neighborhood Garden (Suburbia), analog, mounted - Contemporary, Polaroid, Color
Located in Morongo Valley, CA
Neighborhood Garden (Suburbia) - 2004
60x80cm,
Edition of 1/5.
Analog C-Print, hand-printed by the artist, based on the original Polaroid, mounted on Aluminum with matte UV-Projection.
Artist Inventory No. 405.01.
Signed on verso.
The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others.
Suburbs collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life.
The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants.
Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy.
Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Metal
Blurry and Hot - Sidewinder
Located in Morongo Valley, CA
Blurry and Hot (Sidewinder) - 2005
128x125cm,
Edition of 5,
analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper,
based on the Polaroid, Certificate and Signat...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Metal
Pink Flower Carpet (Zuma Beach) - analog, vintage print
Located in Morongo Valley, CA
Pink Flower Carpet (Zuma Beach) - 1999
43x59cm,
Edition 2/10.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Signed on back and Certificate.
Artist Inventory #2...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$540 Sale Price
40% Off
East River View (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
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 Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunday Afternoon (Malibu)
Located in Morongo Valley, CA
Sunday Afternoon (Malibu)n - 2004
39x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on the orignal Polaroid.
Artist i...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$720 Sale Price
40% Off
Mind Storm (The Last Picture Show) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Mind Storm (The Last Picture Show) - 2000
20x20m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Back Alley (The Last Picture Show)
Located in Morongo Valley, CA
Back Alley (The Last Picture Show) - 2005,
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
Arti...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hereafter (The Last Picture Show)
Located in Morongo Valley, CA
Hereafter (The Last Picture Show) - 2005,
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
Artis...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2196.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columbia Thinking (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
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...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Springs Palm Trees (Californication) - Polaroid
Located in Morongo Valley, CA
Palm Springs Palm Trees (Californication) - 2023
40x40cm.
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist I...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hollywood (Instantdreams) - 21st Century, Polaroid, Color
Located in Morongo Valley, CA
Hollywood (Instantdreams) - 1998
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Certificate and signature label.
Artist inventory...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Gasstation (triptych) - analog, Polaroid, Contemporary, 21st Century, Color
Located in Morongo Valley, CA
Gasstation (Stranger than Paradise) - 2000
Edition of 9/10.
3 x 58 x 56 x 0.3 cm, 58 x 188 cm installed.
3 Analog C-Prints, hand-printed by the artist based on 3 original Polaroids....
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Metal
Salton Sea Liquor (California Badlands)
Located in Morongo Valley, CA
Salton Sea Liquor (California Badlands) - 2016
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
artist Inv...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Nowhere to Run (The Last Picture Show) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Nowhere to Run (The Last Picture Show) - 2000
20x20m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inven...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Phone Call (The Last Picture Show) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Phone Call (The Last Picture Show) - 2000
20x20m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
2010s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Springs Palm Trees (Californication) - Polaroid
Located in Morongo Valley, CA
Palm Springs Palm Trees (Californication) - 2023
50x49cm.
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist I...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Oasis (Sidewinder) - 21st Century, Polaroid, Contemporary, Landscape
Located in Morongo Valley, CA
The Oasis (Sidewinder) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Signature label and certificate.
Artist Inventory 3000.
Not mo...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Just Landed (Long Way Home) - featuring Radha Mitchell, analog
Located in Morongo Valley, CA
Just Landed (Long Way Home) - 1999
featuring Radha Mitchell
57x56cm,
Edition of 10, plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Certificate and Signature label.
Artist Inventory #260.
Not mounted.
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...
Category
1990s Pop Art Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dreams Twilight (Haley and the Birds)
Located in Morongo Valley, CA
Dreams Twilight (Haley and the Birds) - 2013
50x49cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inven...
Category
Early 2000s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Gas station at Night II (Stranger than Paradise) - Contemporary, Polaroid, Color
Located in Morongo Valley, CA
Gas Station at Night I (Stranger than Paradise) - 1999
37x36cm,
Edition of 30,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #391.
Not...
Category
1990s Contemporary Photographic Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Photographic Paper landscape photography for sale on 1stDibs.
Find a wide variety of authentic Photographic Paper landscape photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, green, orange and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Stefanie Schneider, David Burdeny, Richard Heeps, and Mitchell Funk. Frequently made by artists working in the Contemporary, Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Photographic Paper landscape photography, so small editions measuring 0.4 inches across are also available
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