Every single incident weighs tons (The Girl behind the White Picket Fence)
Stefanie Schneider
Photography - 20 x 20 x 0.1 cm Photography - 7.9 x 7.9 x 0 inch
€550
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Horizon (Zuma Beach),
2004
Stefanie Schneider
Photography : C-print, color edition, Polaroid, Water
48 x 47 x 0.1 cm 18.9 x 18.5 x 0 inch
€800
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About the artwork
Type
Numbered and limited to 10 copies
2 copies available
Signature
Signed artwork
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
48 x 47 x 0.1 cm 18.9 x 18.5 x 0 inch Height x Width x Depth
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: United States
Horizon (Zuma Beach) - 2004
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #20431.
Not mounted.
The Tooth of Time
It is obvious that the photographer Stefanie Schneider has a background in film. All her pictures live from the dust-filled eroticism of American road movies. For Hitchhikers, the thirty-seven-year-old artist sent her protagonists into the desert.
The air shimmers. Desert. A highway, massive autos, dusty kisses. One is familiar with these sorts of images from films, even if one hasn't yet seen this particular one. In any case, it seems to be older: The tooth of time has gnawed at the photos; they are discolored, strangely and incorrectly exposed, covered with white spots.
False! The photographic series Hitchhikers was created this year; the photos got their patina because the photographer Stefanie Schneider only uses film which has passed its expiration date by up to five years, and which accordingly reacts to light in unpredictable ways. Where one's assumptions are correct is in the matter of the cinematic allusions: Schneider received a degree in film at the Folkwang-Hochschule in Essen. In the USA, she was responsible for the scene photos in the feature-film debut (Everything put together) of Marc Forster (Monster's Ball, Finding Neverland) and out of that collaboration developed her own photographic series Suburbia.
Hitchhikers is similarly structured and actually consists of stills, in this case without the accompanying film: loosely staged pictures in which the protagonists have space for spontaneous improvisations. No plot, but moods which seem familiar to us.
Photographer Stefanie Schneider splits her time between Los Angeles, where she shoots her photographs, and Berlin, where she develops and enlarges her prints. Her interests in photography are in the physical nature of film, especially the process of its deterioration and the framing mechanism of images arranged on a reel. Often using expired Polaroid instant film, she photographs individuals in trailer parks and different plane settings in Southern California. The combined marks of degraded chemicals and an apocalypse-like setting give Schneider’s photographs an evocative and unmistakable sense of style. Schneider also works on feature films, and has designed album covers for popular musicians, including Cyndi Lauper and the Red Hot Chili Peppers. Her work has been exhibited throughout Europe, including at the Braunschweig Museum für Photographie and at Les Rencontres d’Arles in France.
When did you know you wanted to be an artist?
It happened by chance. Right after my studies in film and photography, my initial plan was to move to Los Angeles to work in film editing. Coincidences lead me to a shop selling a box of expired Polaroid films, and without even having a camera, I bought them all. The next day I bought a camera, and went down to the beach with my sister to take some photographs. One thing led to the next, my work started to be exhibited, recognized, and sold. It all happened so fast and now, in hindsight, I think it was inevitable.
Falk Schreiber, u-magazine, Januar 2006, issue 2, p.82-87
Read more
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #20431.
Not mounted.
The Tooth of Time
It is obvious that the photographer Stefanie Schneider has a background in film. All her pictures live from the dust-filled eroticism of American road movies. For Hitchhikers, the thirty-seven-year-old artist sent her protagonists into the desert.
The air shimmers. Desert. A highway, massive autos, dusty kisses. One is familiar with these sorts of images from films, even if one hasn't yet seen this particular one. In any case, it seems to be older: The tooth of time has gnawed at the photos; they are discolored, strangely and incorrectly exposed, covered with white spots.
False! The photographic series Hitchhikers was created this year; the photos got their patina because the photographer Stefanie Schneider only uses film which has passed its expiration date by up to five years, and which accordingly reacts to light in unpredictable ways. Where one's assumptions are correct is in the matter of the cinematic allusions: Schneider received a degree in film at the Folkwang-Hochschule in Essen. In the USA, she was responsible for the scene photos in the feature-film debut (Everything put together) of Marc Forster (Monster's Ball, Finding Neverland) and out of that collaboration developed her own photographic series Suburbia.
Hitchhikers is similarly structured and actually consists of stills, in this case without the accompanying film: loosely staged pictures in which the protagonists have space for spontaneous improvisations. No plot, but moods which seem familiar to us.
Photographer Stefanie Schneider splits her time between Los Angeles, where she shoots her photographs, and Berlin, where she develops and enlarges her prints. Her interests in photography are in the physical nature of film, especially the process of its deterioration and the framing mechanism of images arranged on a reel. Often using expired Polaroid instant film, she photographs individuals in trailer parks and different plane settings in Southern California. The combined marks of degraded chemicals and an apocalypse-like setting give Schneider’s photographs an evocative and unmistakable sense of style. Schneider also works on feature films, and has designed album covers for popular musicians, including Cyndi Lauper and the Red Hot Chili Peppers. Her work has been exhibited throughout Europe, including at the Braunschweig Museum für Photographie and at Les Rencontres d’Arles in France.
When did you know you wanted to be an artist?
It happened by chance. Right after my studies in film and photography, my initial plan was to move to Los Angeles to work in film editing. Coincidences lead me to a shop selling a box of expired Polaroid films, and without even having a camera, I bought them all. The next day I bought a camera, and went down to the beach with my sister to take some photographs. One thing led to the next, my work started to be exhibited, recognized, and sold. It all happened so fast and now, in hindsight, I think it was inevitable.
Falk Schreiber, u-magazine, Januar 2006, issue 2, p.82-87
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Traces (Frozen) - Proof before printing
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White Trash Beautiful I (29 Palms, CA)
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Vegas (Stranger than Paradise)
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Thunderbird Motel (The Last Picture Show)
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Moving in Together (Till Death do us Part)
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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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