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Stefanie Schneider American Depression (California Badlands), 2010


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Stefanie Schneider, American Depression (California Badlands)
Imagine it at home



About the work
  • Medium

    Photography : C-print, Polaroid

  • Dimensions cm | inch

    7.9 x 9.4 x 0 inch

  • Support

    Photography on Fujicolor Crystal Archive Paper

  • Framing

    Not framed

  • Type

    Numbered and limited to 10 copies
    1 remaining copy

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Signed artwork

  • About the artwork

    Artwork sold in perfect condition

    Digital C-Print, based on a Polaroid.
    Certificate and Signature label.
    Artist Inventory # 10913.

    Stefanie Schneider artist statement:

    Desolation and solitude are two adjectives that I would use to describe my Polaroid photographs, another would be the Japanese term 'Wabi-Sabi. The simplicity of 'flawed beauty' comes from the expired film I use to create a reflection of love and loneliness.
    My dream of accepting so called 'imperfection' is in fact a a realizing of a different world view for which there's no way back. The shiny, perfect point of view is crumbling and has been for a long time. Formally, my work was called blurry, broken or even botched but they fail in the test of acceptance that all things are imperfect. It's a seismic shift for some but in this age where the cracks are no longer hidden, the affirmation of reality is still difficult.
    But that's so depressing right? To acknowledge that the dream is actually turning into a nightmare. It's easier to deny than to utter the truth of defeat. (ruin).
    That we are all finite is irrefutable but we just don't want to believe it. That's how organized religion managed to take the hold of the masses but that too is waning these days. Proving that everything has it's time, even God.
    I began expressing myself through photography before the digital age we currently inhabit and certainly predating 'instagram'. Understanding the skill of analog film which requires that conditions be right before the click of the shutter is in stark contrast to todays, post production photography.
    The celebration of imperfection reconnects us to the real world where we normally mask our flaws.
    I chose Polaroid film because it portrays color like candy making even the broken an expression of endearment. The combination of the color and the blemishes of expired Polaroid analog film gave me a sense of inner peace with my surroundings. It just fit. Nothing had portrayed my vision so symbolically. Frankly, It's liberating.
    The quirks, oddities or the perfectly imperfect uniqueness of my work relate to our own life blemishes and somehow make them ok or even remarkable. Honoring that value of imperfection makes it permissible to be.
    One might put the world into two camps, the ones who appreciate the beauty of imperfection and the ones who don't. Let me warn you now, those who attempt to see and are successful, can never return. To see that perspective is to have gone into a twilight zone of understanding where your former self is altered forever and the once revered is no longer possibly seen with beauty.
    Allowing space and time for the magic moment to manifest and capturing that enchantment.
    I use my senses and current affairs to plot that path of serendipity especially when it's a mark of turbulence. The upheaval of balance is the key for chance and allows all unknown forces to contribute to the moment. This is what it means to me.
    The first rule in art is that there are no rules. I look inside myself, ground that emotion and imagine it in a dream. It's the only thing that make any sense to me.
    Dreams are the foundation of emotion and the link to our sub-conscience. The link between my work and your sub-conscience is that you're allowed to insert yourself into the story itself.
    I try to clarify my nightly dreams subjectively with a cup of nostalgia in a bowl of emotions and sprinkle it generously with sex. It is there, the fountain of our instincts.
    Read more
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Origin: United States
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Want to go further?

Stefanie Schneider

Germany Born in: 1968

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.


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 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.

Read more
  • Discover more by the artist

Our recommendations Stefanie Schneider, Every single incident weighs tons (The Girl behind the White Picket Fence), Photography

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Every single incident weighs tons (The Girl behind the White Picket Fence), 2013
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Stefanie Schneider, Stefanie Schneider's Coupe Plate 'Haley and the Birds', Print

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Stefanie Schneider's Coupe Plate 'Haley and the Birds', 2021
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Our recommendations Stefanie Schneider, Springtime (Paris), Photography

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Springtime (Paris), 1995
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Stefanie Schneider, Little Darlings (Till Death do us Part), Photography

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Little Darlings (Till Death do us Part), 2008
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Stefanie Schneider, Crossroads (Californication), Photography

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Crossroads (Californication), 2019
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Stefanie Schneider, Aquarius (Californication), Photography

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Aquarius (Californication), 2019
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Stefanie Schneider, Full of Dreams (The Girl behind the White Picket Fence), Photography

Stefanie Schneider

Full of Dreams (The Girl behind the White Picket Fence), 2013
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Stefanie Schneider, Palm Springs Palm Trees X (Californication), Photography

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Palm Springs Palm Trees X (Californication), 2019
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Stefanie Schneider, Max and Radha sitting on Rock (Long Way Home), Photography

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Max and Radha sitting on Rock (Long Way Home), 1999
7.9 x 7.9 x 0 inch


Stefanie Schneider, Impact - it all began quite simply I was very happy (Wastelands), Photography

Stefanie Schneider

Impact - it all began quite simply I was very happy (Wastelands), 2003
22.4 x 22 x 0 inch


Stefanie Schneider, Renée's Dream XV (Days of Heaven), Photography

Stefanie Schneider

Renée's Dream XV (Days of Heaven), 2006
7.9 x 7.9 x 0 inch


Stefanie Schneider, Blue Space Dark - Mindscreen 09 (Night on Earth), Photography

Stefanie Schneider

Blue Space Dark - Mindscreen 09 (Night on Earth), 1999
22.4 x 22 x 0 inch


  • Discover more works in edition from Stefanie Schneider

Stefanie Schneider, American Depression (California Badlands)
Stefanie Schneider, American Depression (California Badlands)