Early 2000s Landscape Photography
to
101
675
434
222
155
419
Overall Width
to
Overall Height
to
4
180
5,949
13,948
3
27
77
109
62
758
1,396
1,303
732
599
4
1,635
30
29
19
18
12
6
5
5
3
2
1
915
590
400
837
749
375
271
262
259
249
193
179
174
156
151
144
138
135
129
125
94
93
91
1,089
970
856
781
637
590
153
116
79
72
341
384
1,387
489
Period: Early 2000s
Silence Void (Stay) - Polaroid
Located in Morongo Valley, CA
Silence Void (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2116.
Not mounted.
Stefanie...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
No words needed, Photography, Limited Edition, Cityscape, Street, Paris
Located in München, BY
No words needed - Eiffel Tower
Edition of 25
signed and numbered by the artist
The view of the Eiffel Tower through a glass pane, on which texts are written in various languages.
J...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2003.
No...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence Disco (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence Disco (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2006...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
No words needed, Photography, Limited Edition, Cityscape, Street, Paris
Located in München, BY
No words needed - Eiffel Tower
Edition of 25
signed and numbered by the artist
The view of the Eiffel Tower through a glass pane, on which texts are written in various languages.
J...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
Childhood Memories (Stay) - featuring Ryan Gosling- Polaroid
Located in Morongo Valley, CA
Childhood Memories (Stay) - 2006 - featuring Ryan Gosling- Polaroid
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inv...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Hudson (Stay) - Polaroid
Located in Morongo Valley, CA
Hudson (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1575.
Not mounted.
Stefanie Schne...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Hell (Stay) - Polaroid
Located in Morongo Valley, CA
Hell (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1573.
Not mounted.
Stefanie Schneid...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Film, Archival 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
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Into Eternity (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Into Eternity (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 893.
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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Mountain (Stranger than Paradise) - Contemporary, Polaroid, Analog
Located in Morongo Valley, CA
The Mountain (Stranger than Paradise) - 2003
57x56cm,
Edition 4/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Artist invento...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled (Fairytales) - analog
Located in Morongo Valley, CA
Untitled (Fairytales) - 2006,
49x48cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid.
Certi...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
House up in the Mountains (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
House up in the Mountains (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 1235.
Signat...
Category
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stairway to heaven by JJK, Photography, Limited Edition, Zanzibar
Located in München, BY
Edition of 25
signed and numbered by the artist
A worker sits on a staircase that leads to nowhere.
JJK is a pseudonym for one of the world's most successful photo artists.
In his...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Pigment
God Speed - Good Year, Bonneville, Utah - Car in Landscape Color Photography
Located in Cambridge, GB
'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Summer Cat, Upstate New York, Black-and-White Documentary Landscape Photography
By Hank Gans
Located in New york, NY
Summer Cat, 2007 by Hank Gans, is a 19” x 13” black-and-white photograph of a white cat on a dusty road in upstate New York. On a lazy summer day the cat fol...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Ink, Archival Paper, Black and White, Digital, Pigment, Archiva...
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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Plane Mirage (Stranger than Paradise)
Located in Morongo Valley, CA
Plane Mirage (Stranger than Paradise) - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inven...
Category
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Metal
Père Lachaise (Paris) - analog, Contemporary, Women, Portrait
Located in Morongo Valley, CA
Père Lachaise - 1995
Edition of 5, plus 2 Artist Proofs.
60x50cm including white borders.
Analog C-Print, hand-printed by the artist and based on the original Polaroid,
Signatu...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sundowner II, Salton Sea, California - Blue sky roadside America color photo
Located in Cambridge, GB
This giant isolated roadside sign set against a vast blue sky is a remnant of 'The Sundowner Bar and Restaurant' of the motel which is sadly no more. This photograph, part of Richard...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Young and Unaccountable (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Young and Unaccountable (Wastelands), Edition 1/5 , 38 x 37 cm, 2003
analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
based on a Polaroid, Artist inventory N...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Miss America (Sidewinder) - analog, diptych
Located in Morongo Valley, CA
Miss America (Sidewinder), diptych - 2005
Edition of 5. plus 2 artist Proofs.
38.5 x 38 cm each, installed 38.5 x 81cm.
Analog C-Print, hand-printed by the artist in September 20...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
North Shore Motel Office I, Salton Sea California - Color Photography
Located in Cambridge, GB
North Shore Motel, photography by Richard Heeps captured in the Salton Sea, California. A classic American faded roadside Motel, the mid-century architecture stands against with blue...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$720 Sale Price
40% Off
Wildflower (The Last Picture Show)
Located in Morongo Valley, CA
Wildflower (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
Contemporary Early 2000s 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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
0º00 Longitude 52º35N Latitude Wisbech St Mary’s Wash - Landscape Color Photo
Located in Cambridge, GB
Wisbech St Mary's Wash Looking North, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire.
Richard Heeps was awarded a Millennium Year of the Artist...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Abstract - Antelope Canyon Monochrome Print Limited Edition Landscape
Located in Vienna, Vienna
Antelope Canyon Study 3, AZ, USA - no. 11874 // Archival pigment ink print as part of a limited edition of 9.
All Gerald Berghammer prints are made to order in limited editions on H...
Category
Contemporary Early 2000s Landscape Photography
Materials
Digital Pigment
Sedge Fen, Wicken Fen, Cambridgeshire - landscape nature photograph
Located in Cambridge, GB
Sedge Fen, nature photograph by Richard Heeps taken when documenting Wicken Fen.
Richard has a love for the unique Fenland landscape around his Cambr...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Ancient Bridge Views III (Stay)
Located in Morongo Valley, CA
Ancient Bridge Views III (Stay) - 2006
20x20cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2490.
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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Tussock, Wicken Fen, Cambridgeshire - landscape nature photograph
Located in Cambridge, GB
Tussock, nature photograph by Richard Heeps taken when documenting Wicken Fen.
Richard has a love for the unique Fenland landscape around his Cambrid...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Reed Bed, Wicken Fen, Cambridgeshire - landscape nature photograph
Located in Cambridge, GB
Reed Bed, square format nature photograph by Richard Heeps taken when documenting Wicken Fen.
Richard has a love for the unique Fenland landscape around his Cambridgeshire home captu...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Stars
Stripes Barn, Oakhurst, California - American Color Photography
Located in Cambridge, GB
Stars and Stripes Barn, photography part of Richard Heeps Dream in Colour series. The American flag painted on a barn on the horizon, set against a big blue sky.
This artwork is a ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Silver Gelatin
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
Contemporary Early 2000s 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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Doctor
s Stage (Heather
s Dream) - Polaroid, Contemporary, color
Located in Morongo Valley, CA
The Doctor's Stage (Heather's Dream) - 2013
with Udo Kier and Heather Megan Christie
part of "The Girl Behind the White Picket Fence"
38x48cm,
Edition of 10 plus 2 Artist Proofs.
...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Art Deco ott.c, Miami Beach Skirt Architectural Landscape Photography
By Luca Artioli
Located in Miami Beach, FL
The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Deco District to the modern skyline of our days. Stripes, circles, squares, and reflections show only some details of important buildings but they all have the power to raise emotions and unexpected shapes and volumes inside us. A final touch is reserved for nature skin from the ocean to the tropical vegetation. You need now to make an effort of imagination to discover and compose all pictures and eventually frame it in your own mind.
Artioli captures beauty through his camera, creating artistic, painterly images by intentionally moving the camera during long exposures. These images represent 'the impression' of a world in constant movement.
From Miami Skin Series
Miami Beach Art Deco...
Category
Contemporary Early 2000s Landscape Photography
Materials
Black and White, Archival Pigment
Art Deco ott.b Miami Beach Black and White Architectural landscape Photo
By Luca Artioli
Located in Miami Beach, FL
The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...
Category
Contemporary Early 2000s Landscape Photography
Materials
Black and White, Archival Pigment
Frozen XVI (Stranger than Paradise)
Located in Morongo Valley, CA
Frozen XVI (Stranger than Paradise) - 2001
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invento...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Planet of the Apes - 7 pieces complete Series - Polaroid, Color
Located in Morongo Valley, CA
Planet of the Apes - 1999,
Edition of 3/10,
60x60cm each, installed 60x450cm.
7 analog C-Prints, hand-printed by the artist, based on the 7 original Polaroids, not mounted.
Signature label and Certificate.
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
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Ocean (The Princess and her Lover), analog, mounted
Located in Morongo Valley, CA
The Ocean (The Princess and her Lover) - 2009
Edition 1/5,
60x80cm
Analog C-Print based, printed by the artist and based on the Polaroid,
Mounted on Aluminum with matte UV-Protec...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$1,800 Sale Price
40% Off
Renée
s Dream (Days of Heaven), no 5
Located in Morongo Valley, CA
'Renée's Dream' no. 5 (Days of Heaven) - 2005
part of the 29 Palms, CA project
26 x 32cm,
Edition 4/100.
Archival C-Print based on the original Polaroid.
Certificate and signatur...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled, from the series
the eyes, the ears
Located in Zurich, CH
Rinko KAWAUCHI (*1972, Japan)
Untitled, from the series 'the eyes, the ears', 2005
Lambda print
Sheet 101.6 × 101.6 cm (40 × 40 in.)
Edition of 6
Signed by the artist
Kawauchi burst...
Category
Contemporary Early 2000s Landscape Photography
Materials
Lambda
Read More
This Photo of the Salton Sea Captures a Serene Moment Amid an Environmental Disaster
Addison Jones shares how she got this gorgeous minimalist shot while immersed in the stink of dead fish.
This Photo of Big Sur Reveals the Awesomeness and Intimacy of Nature
When a beachcomber accidentally stepped in front of Jeffrey Conley’s camera, a perfect moment was captured.
Savor Ansel Adams’s Landscapes and Those of His Ambitious Successors
A new exhibition examines images by the master photographer alongside works by photographers who influenced him and contemporary creators.
These Artists Are Changing the Nature of Landscape Photography
Developing images using contaminated water or printing them on expired photo paper are just a couple of ways today's talents are putting their own spin on tradition.
Still Thinking About These?
All Recently ViewedMore Ways To Browse
Oil Painting Vancouver
Oil Paintings By Kenyon
Old Florida Art
Olivier Foss
Oregon Coast Oil Painting
Original Art 20x30
Original Hitler
Original Poster Daude
Orthodox Altar
Osmar Schindler
Otto Schneider
P Costa
Painting French Naval Battle
Painting On Burlap Canvas
Painting Signed Franklin
Paintings By Camille Pissarro
Paintings In The Adirondacks
Paintings With Silos