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Penelope and Hans (Immaculate Springs) starring Udo Kier, based on a Polaroid,
1998
Stefanie Schneider
Photography : C-print, Polaroid
57 x 56 x 0.1 cm 22.4 x 22 x 0 inch
£2,040
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About the artwork
Type
Numbered and limited to 5 copies
1 copy available
Signature
Signed artwork
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Dimensions cm • inch
57 x 56 x 0.1 cm 22.4 x 22 x 0 inch Height x Width x Depth
Framing
Not framed
Artwork sold in perfect condition
Artwork location: United States
Edition of 5, 58x57cm.
Analog C-Print, hand-printed and enlarged by the artist, based on a Polaroid.
Signature Label and Certificate.
Artist Inv. # 164.
Stefanie Schneider: A German view of the American West
The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century?
Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works.
What is most striking about Schneider's images is the colour which evokes the appearance of expired Polaroid film. Her role in preserving the use of Polaroid is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction.
This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.''
Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider.
This sense of absence runs deep through Schneider's work, the fact she even uses expired film means there is a sense of the unknown. Long before Valencia, Mayfair and Amaro, or any other Instagram filters, Schneider was creating this otherworldliness the image sharing network tries to create.
(Barnebys UK, May 3, 2017)
Read more
Analog C-Print, hand-printed and enlarged by the artist, based on a Polaroid.
Signature Label and Certificate.
Artist Inv. # 164.
Stefanie Schneider: A German view of the American West
The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century?
Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works.
What is most striking about Schneider's images is the colour which evokes the appearance of expired Polaroid film. Her role in preserving the use of Polaroid is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction.
This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.''
Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider.
This sense of absence runs deep through Schneider's work, the fact she even uses expired film means there is a sense of the unknown. Long before Valencia, Mayfair and Amaro, or any other Instagram filters, Schneider was creating this otherworldliness the image sharing network tries to create.
(Barnebys UK, May 3, 2017)
About the seller
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Presentation
Stefanie Schneider (1968) is a German photographer living in Berlin and Los Angeles. Schneider's photographs exhibit the appearance of expired Polaroid instant film, with its chemical mutations. It has been released in books and exhibition catalogs, and in her own feature film 29 Palms, CA (2014). Her work has also been used as the cover art for music by Red Hot Chili Peppers and Cyndi Lauper, and in the film Stay (2005).
Schneider's preferred choice of location is the American West (especially Twentynine Palms, California, which served as location and title to one of her books), and the mounting of sequential images in a panel, the photographs evoke the impression of faded dreamy film stills. She holds an MFA in photography from the Folkwang Hochschule in Essen, Germany.
Schneider completed 29 Palms, CA in 2014. A feature film, art piece that explores the dreams and fantasies of a group of people who live in a trailer community in the Californian desert. The project includes six films: "Hitchhiker", "Rene's dream", "Sidewinder", "Till death do us part", "Heather's dream" and the feature film "The Girl Behind the White Picket Fence". A defining feature is the use of still Polaroid images in succession and voice over. Characters talk to themselves about their ambitions, memories, hopes and dreams. The latest of these short film is "Heather's dream", starring Heather Megan Christie and Udo Kier, and was selected in May 2013 by the International Short Film Festival Oberhausen and is also nominated for the 2013 German short film award.
In a review of her book Stranger Than Paradise, Daniel Kothenschulte writes in the German magazine Literaturen that:
Stefanie Schneider is an internationally known artist that takes analog photographs and makes experimental movies with them. Schneider has cribed some of the titles of the series of her enlarged Polaroids from her favorite movies: Red Desert, Zabriskie Point or The Last Picture Show. Even if most images remain connected to the genre of road movies—in one case one seems to get a glimpse of Ridley Scott's tragic runaways Thelma and Louise.
Collections
DZ Bank, Francfort, Allemagne
Dreyfuss, Bâle, Suisse
Schmidt Bank, Ratisbonne, Allemagne
Groupe d'édition Holtzbrinck, Stuttgart, Allemagne
Collection Sander, Berlin, Allemagne
Ocean Foundation, Zurich, Suisse
Germanisches Nationalmuseum, Nuremberg, Allemagne
Impossible Collection, Vienne, Autriche
Collection Luc LaRochelle, Montréal, Canada
Collection d'art du canton de Zug, Suisse
Expositions
Expositions individuelles
2014 Motion Photography – 6 Finalists, Saatchi Gallery, Londres, GB
2014 Instantdreams, De Re Gallery, Los Angeles, USA
2014 Stefanie Schneider, c.art-Galerie Bregenz, Autriche
2013 The girl behind the white picket fence, Galerie Catherine et André Hug, Paris, France
2012 Stranger than Paradise, Christian Hohmann Fine Art, Palm Desert, USA
2012 Stefanie Schneider, Gallery at Cliff Lede Vineyards, Napa Valley, USA
2011 California Dreaming, ROLLO Contemporary, Londres, GB
2010 Stefanie Schneider, Galerie Walter Keller, Zurich, Suisse
2010 Instant Dreams, Frank Picture Gallery, Santa Monica, USA
2009 29 Palms, CA, Moravian Gallery, Brno, République tchèque
2008 Sidewinder, Städtische Galerie am Mozartplatz, Salzbourg, Autriche
2007 Wastelands, Kunstverein Recklinghausen, Allemagne
2006 Wastelands, Zephyr / Reiss-Engelhorn-Museen, Mannheim, Allemagne
2005 Last Picture Show, Galerie Caprice Horn, Berlin, Allemagne
2004 Suburbia, Galerie Kuttner Siebert, Berlin, Allemagne
2004 Stefanie Schneider, Galerie Michael Sturm, Stuttgart, Allemagne
Expositions collectives
2014 Nude, Pop-up Art Gallery Berlin, Allemagne
2013 Images for Images, GASK – Gallery of the Central Bohemian Region, Kutná Hora, République tchèque
2013 The Polaroid Years: Instant Photography and Experimentation, Frances Lehman Loeb Art Center, Poughkeepsie, USA
2013 Road Atlas - Straßenfotografie, DZ Bank Collection, Kunsthalle Erfurt, Allemagne
2012 Polaroid (Im)Possible – The Westlicht Collection, Forum de la culture et de l'économie du land de Rhénanie du Nord-Westphalie, Düsseldorf, Allemagne
2010 Mapping Worlds: Welten verstehen – Aufbruch in die Gegenwart, 8ème triennale internationale de la photo, Esslingen, Allemagne
2009 True Lies, Kunsthaus Essen, Allemagne
2008 Les Rencontres d'Arles, organisées par Christian Lacroix, nominée pour le prix découverte
2007 Breaking the Waves, Arthaus, Los Angeles, USA
2006 Artists for Tichy - Tichy for Artists, Museum für Moderne Kunst, Passau, Allemagne
2006 Out of the Camera: Analoge Fotografie im digitalen Zeitalter, Kunstverein, Bielefeld, Allemagne
Land in Translation, Riverside Museum, USA.
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