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Stefanie Schneider
Wandering II (Wastelands) - analog hand-print, vintage. 58x56cm
2003

Name: Wandering II (Wastelands) - analog hand-print, vintage. 58x56cm
Brand: Stefanie Schneider
Price: 2000 USD
Availability: InStock

About the Item

Hidden Valley (Wastelands), 57x56cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventory Number 1192. 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. Dust bowl 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 begin- ning 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 story line, 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 that refuse to settle down into any predetermined reading. She seeks to assemble the elements, establish a provisional cosmology and then let each of us bring our own life experiences to bear on the enterprise. She unravels the paucity of a universe compromised by a matrix of either/or and replaces it with a kaleidoscopic neither/both cornucopia. Stefanie Schneider does not mount a demolition effort much less a deconstruction one. Rather, she dismantles our expectations and sets about rebuilding not things but their connections anew. She is the mistress of the synapses. Indeed all these annoying ambiguities and irritating ambiances set the stage for a very particular certainty, one kernel of truth amidst these skewed and open-ended fields of inquiry. What connects all these images, in whatever order they might be presented1, is what I call an Augenblick, the mental distance between each page in whose expanse occurs the processing of shards of lived experience between these blinks of an eye that comprise the pages of Wastelands. During these innumerous Augenblicke, we take whatever shifts and turns that Stefanie Schneider throws at us. 1 I refer to Julio Cortazar’s novel, Hopscotch, in which he presents his story in a linear way, with consecutive chapters that follow a particular coherence. In a note at the be- ginning of the novel, he suggests an alternative reading via a new sequence of chapters. So instead of reading chapter 1 first, chapter 2 second, you read, say chapter 57 first, chapter 32 second, chapter 1 third and so on to form a new story. Similarly, Stefanie Schneider’s Wastelands offers a multitude of coherences.

Creator:

Stefanie Schneider (1968, German)

Creation Year:

2003

Dimensions:

Height: 22.45 in (57 cm)Width: 22.05 in (56 cm)Depth: 0.12 in (3 mm)

Medium:

Photographic Paper,Archival Paper,C Print,Polaroid

Movement & Style:

Contemporary

Period:

2000-2009

Condition:

Gallery Location:

Morongo Valley, CA

Reference Number:

1stDibs: LU652310964292

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Stefanie Schneider
Wandering II (Wastelands) - analog hand-print, vintage. 58x56cm
2003

About the Item