Early 2000s Landscape Photography
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Period: Early 2000s
Jerusalem, Israel Western Wall Ed of 5 Vintage Silver gelatin Photograph Print
By Mikael Levin
Located in Surfside, FL
Photo Image taken in black & white of Western Wall (Wailing Wall) Kotel Hamaaravi in Jerusalem Israel. Hand signed, dated and titled. From very small edition of just 5 prints.
Born ...
Category
Post-Modern Early 2000s Landscape Photography
Materials
Silver Gelatin
Circle of Magic - Spellbound (29 Palms, CA)
Located in Morongo Valley, CA
Circle of Magic - Spellbound (29 Palms, CA) - 2009,
20x24cm,
Edition 9/10.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #5919.09. ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid
Troy House - Deia #1, Photography 2007, Printed After
Located in Greenwich, CT
Printed on Exhibition Photo Plantine 310gsm Paper Using Pigmented Ink
Edition of 20
Sculptor Santiago Medina Italian stainless steel sculptures are at marquee public art venues worl...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, Digital, Pigment, Archival Pigment, ...
Venice
Located in New York, NY
Ed. of 6, includes white frame.
A New York City native, Andrew Blauschild took up photography at just twelve years old. Dividing his time between New York City and the East End of L...
Category
Early 2000s Landscape Photography
Materials
C Print
Jersey Views (Stay) - 21st Century, Contemporary, Polaroid
Located in Morongo Valley, CA
Jersey Views (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory No. 5117.
Not ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Archival Pigment, Po...
Purple Valley (Wastelands) - Contemporary, Landscape, Polaroid, Analog, mounted
Located in Morongo Valley, CA
Purple Valley (Wastelands) - 2003
57x56cm,
Edition 3/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Mounted on Aluminum with ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Metal
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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, Polaroid, Color
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Deer Louse Point East Hampton in Ginger Sky - Nature's Splendor
Located in Miami, FL
Nature's Splendor is captured with deer grazing at sunset on East Hampton's famous Louse Point.
This image is signed, dated and numbered 3/15 lower right recto. Other sizes are ava...
Category
Post-Impressionist Early 2000s Landscape Photography
Materials
Archival Pigment, Archival Paper, Archival Ink
Untitled (Oilfields) - Contemporary, 21st Century, Desert, Polaroid, Landscape
Located in Morongo Valley, CA
Untitled (Oilfields), 2004
60x60cm,
Edition 4/10
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Certificate and Signature label.
Artist Inventory No. ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Secret Staircase, Mexico, 2009
Located in Toronto, ON
Secret Staircase, Mexico, 2009
Photograph by Cosmo Condina. Interior Staircase, Playa del Carmen, Mexico, 2009
Archival pigment print 19 X 12.6 in. Edition of 10. This is # 3/10 i...
Category
Early 2000s Landscape Photography
Materials
Archival Pigment
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
Circle of Magic - Do you believe in Magic - 29 Palms, CA
Located in Morongo Valley, CA
Circle of Magic (29 Palms, CA) - 2009
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
artist inventory num...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Polaroid, Archival Paper, Photographic Paper, Color
Facing Trains (Stranger than Paradise) - Landscape, Polaroid, analog
Located in Morongo Valley, CA
Facing Trains (Stranger than Paradise) - 1999
55x73cm,
Edition 2/5.
Aanalog C-Print, printed by the artist, based on the Polaroid.
Mounted on Aluminum with matte V-Protection.
A...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Millennial Falcon (Sidewinder), analog, 100x98cm - Polaroid, 21st Century
Located in Morongo Valley, CA
The Millennial Falcon (Sidewinder) - 2005
100x98cm,
Edition 1/5.
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
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Forest White (The Last Picture Show) - analog, Polaroid
Located in Morongo Valley, CA
Forest White (The Last Picture Show) - 2005
125x128cm,
Edition 3/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Signature lab...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Massimo Listri 'Corridoio di Levante, Palazzo degli Uffizi'
Located in New York, NY
Massimo Listri
Uffizi XI, Firenze, 2009
C print
Signed and numbered edition of 5
39.5 x 47 inches Edition of 5
47.5 × 59 inches Edition of 5
71 x 88.75 inches Edition of 5
fram...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print
Frozen IV (Last Picture Show)
Located in Morongo Valley, CA
Frozen IV (Last Picture Show) - 2001
20 x 20 cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid
It's gonna get worse before it gets any better (Till Death du us Part)
Located in Morongo Valley, CA
It's gonna get worse before it gets any better (Till Death Do Us Part) - 2005
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate an...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hollywood Freeway, January 2007
Located in Hudson, NY
Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones.
With Robin’s extensive experience as a gallery curator, all Robin Rice...
Category
Modern Early 2000s Landscape Photography
Materials
Archival Pigment
Athena and Henry (Stay) - featuring Ryan Gosling and Elizabeth Reaser - Polaroid
Located in Morongo Valley, CA
Athena and Henry (Stay), from Ryan Gosling's memory sequence - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate a...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, C Print, Color, Polaroid, Photographic Film
Indian Summer - The Last Picture Show, analog, 58x56cm Polaroid
Located in Morongo Valley, CA
Indian Summer (The Last Picture Show) - 2004
58x56 cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Po...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Emser - Mindscreen 6 (Stranger than Paradise) - Polaroid, photograph
Located in Morongo Valley, CA
Emser - Mindscreen 6 (Stranger than Paradise) - 1999
58x57cm,
Edition 5/10.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Sign...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Brooklyn Bridge (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
It's gonna get worse before it gets any better (Till Death du us Part)
Located in Morongo Valley, CA
It's gonna get worse before it gets any better (Till Death Do Us Part) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate an...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Stop Bombay Beach (California Badlands)
Located in Morongo Valley, CA
Last Stop Bombay Beach (California Badlands) - 2019
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist In...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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 # 2194.
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
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 # 2197.
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
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
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
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
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
Airstream trailer outside of 29 Palms - Polaroid, 21st Century, Landscape, Color
Located in Morongo Valley, CA
Airstream trailer outside of 29 Palms (Sidewinder) - 2005
50x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
A...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Summer Interlude II (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Summer Interlude II (Deconstructivism) - 2020
- about the narrative potential of images.
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Art...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
April is the Cruelest Month - Contemporary, Landscape, Polaroid, Analog
Located in Morongo Valley, CA
April is the Cruelest Month (Memories of Green) / (The Getaway) - 1999
58x56cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Arch...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
At the age of eight - Contemporary, Photograph, Landscape, 21st Century, Color
Located in Morongo Valley, CA
At the age of eight - 2006,
40 × 120 cm,
Edition of 5 plus 2 Artist Proofs.
Printed on Canson Baryta Prestige.
Signed on back with Certificate.
Not mounted.
About myself
I was...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment
The Dancer V (Stay) - the movie, expired Polaroid, analog hand made
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Rosegarden (Suburbia), analog, mounted
Located in Morongo Valley, CA
Rosegarden (Suburbia) - 2004
Edition 1/5,
60x80cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Mounted on Aluminum with matte UV-Projection.
Artist Invent...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Planes II (Stranger than Paradise)
Located in Morongo Valley, CA
Planes II - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4653.
Not mounted.
...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Renée's Dream (Days of Heaven) - Analog, Contemporary, Women, Polaroid, mounted
Located in Morongo Valley, CA
Renée's Dream (29 Palms, CA) - 2005
32 pieces, Edition 3/5,
31 x 38 cm each, installed 276 x 164 cm including gaps.
32 analog C-Prints, hand printed by the artist,
based on 27 original Polaroids.
Artist inventory 8072.03.
Signature on back with certificate.
Mounted on Aluminum with matte UV-Protection.
Ships in a crate.
Exhibition: 29 Palms, CA, Spesshardt & Klein, 2008 (S)
Published in 'Stranger than Paradise' (Hatja Cantz), 2005
29 palms, ca
first viewing 01 / 08
29 Palms, CA is a project positioned between film and art. In this project, the German photo...
Category
Contemporary Early 2000s Landscape Photography
Materials
Photographic Paper, Polaroid, Color, Archival Paper, C Print
Stefanie Schneider Polaroid sized unlimited Mini 'Hot Tub' (Heavenly..) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Hot Tub' (Heavenly Falls) - 2016 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid si...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Archival Paper, Polaroid, Lambda, Color
Stefanie Schneider Polaroid sized unlimited Mini 'Oasis' (Sidewinder) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Oasis' (Sidewinder) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized op...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Lila and Sam' (Stay) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini
'Lila and Sam' (Stay) - 2006 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized ...
Category
Contemporary Early 2000s Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
A Vision you can't Capture # 03 (29 Palms, CA) - Polaroid, analog, mounted
Located in Morongo Valley, CA
A Vision you can't Capture #03 (29 Palms, CA) - 2007
A piece from the project: 29 Palms, CA
50x61cm,
Edition 2/5.
Analog C-Print printed on Fuji Archive Paper, hand-printed by th...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Green Pool (Suburbia) - analog, photograph, 21st Century, Interior, Polaroid
Located in Morongo Valley, CA
Green Pool (Suburbia) 2004,
60x80cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface,
based on the Pol...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Rosegarden #01 (Suburbia), analog, diptych
Located in Morongo Valley, CA
Rosegarden #01 (Suburbia), diptych - 2004
Edition 3/5,
60x80cm each, 60x170cm installed.
2 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Polaroid, Color, C Print, Photographic Paper
Jack's (Sidewinder), analog, 100x98cm
Located in Morongo Valley, CA
Jack's (Sidewinder) 2005
100x98cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Artist In...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Green Field - Jean Baptist's Dream no. 3 - Sidewinder
Located in Morongo Valley, CA
'Green Field' Jean Baptist's Dream no. 3' (Sidewinder) - 2005,
125x154cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, printed on Fuji Chrystal Archive paper, based on the ...
Category
Contemporary Early 2000s Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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