Art

'Penelope and Hans' from the movie Immaculate Springs - 1998 - Edition of 10, 50x50cm, plus 2 Artist Proofs. Digital C-Print, based on an expired Polaroid. Signature Label and Ce...

Born Free (Sidewinder) - 2005 Edition of 10, 20x24cm, digital C-Print based on a Polaroid. Signature label and Certificate, Artist Inventory No. 3137. No...

Fugitives (Till Death do us Part) - 2005, 20x24cm, Edition of 10, digital C-Print print, based on an original expired Polaroid. Certificate and Signature label. Artist Inventory...

Slow (Oxana's 30th Birthday) - 2010, 38x36cm, Edition 2/5, analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, matte surface, based on a Polaroid. Artist ...

Summer Interlude I (Deconstructivism) - 2020 - about the narrative potential of images. 40x40cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 5901. Signa...

Housewife's Chores III (Suburbia) - 2004, 20x24cm, Edition of 10, digital C-Print based on a Polaroid, Not mounted, Certificate and signature label. Artist Inventory No. 1692. ...

Stefanie Schneider's Minis 'Untitled #2' (Beachshoot) featuring Radha Mitchell, 2005 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid Polaroi...

Blue II (Deconstructivism) - 2015 - about the narrative potential of images. 20x24cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 3963. Signature label ...

Stefanie Schneider's Coupe Plate 'Haley and the Birds', 2021 with 24-carat hand painted golden rim. Screen print based on a Polaroid. Edition of 500. Plate size 26.67 cm / 10.5 i...

Stefanie Schneider's Minis - Desert Shores (California Badlands), 2010 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwiched in betw...

'Wedding Day IV' (Till Death do us Part) - 2005, 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 4325. ...

Seaside Baptists (California Badlands) - 2010 44 x 59cm, Edition 2/5. Analog C-Print, hand-printed by the artist. based on the Polaroid. Certificate and Signature label. Artist...

If You Were the Woman and I Was the Man (Till Death do us Part) - 2007, 40x50cm, Edition of 10, Digital C-Print print, based on a Polaroid, Certificate and Signature label. Artis...

Stefanie Schneider's Minis 'Lila and Sam" (Stay), 2006 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid from the movie 'Stay' directed by Mar...

Stefanie Schneider's Mini 'Blue Bridge' from the series: Stranger than Paradise. signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open E...

Heather and Zeuss (The Girl behind the White Picket Fence) - 2013, 20x24cm, Edition 10/10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist In...

'Burning II' (Gestures) 38 x 37cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Certificate and Signature label arti...

Airstream (29 Palms, CA) - 1999 58x56cm, Edition 4/10, analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper Not mounted, based on a Polaroid Artist inve...

Wild Things (Till Death do us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs, Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #...

Driving (Till Death do us Part) - 2005, 20x24cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 9063. Not moun...

The Blue Pill to forget (Burned) - Self Portrait 1999, Edition of 2/10, 40x40cm Print on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on an original Polaroid. S...

Hospital Ward (Suburbia) - 2004, 20x24cm, Edition of 10, digital C-Print based on a Polaroid. Certificate and signature label. Artist Inventory No. 433. Not mounted. This p...

I am leaving! (Till Death do us Part) - 2007 - 20x24cm each, installed 20x50cm, Edition of 10, 2 digital C-Prints, based on 2 Polaroids. Certificate and Signature label, artist...

A Vision you can't Capture (29 Palms, CA) - 2007 123x162 cm, Edition 3/5, analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate, Art...

Runaway Lovers (Till Death do us Part) - 2005, 20x24cm, Edition of 10, digital C-Print print, based on an original expired Polaroid. Certificate and Signature label. Artist Inve...

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 ...

New York (Strange Love) 2005, 30x42cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certificate, artist Inventory No. 30003. Not moun...

Hallway (Suburbia) - 2004, 20x24cm, Edition of 1/10, digital C-Print based on a Polaroid. Certificate and signature label. Artist Inventory No. 402. Not mounted. This proje...

Sucking / Brushing (Sidewinder) 2005, 50x200cm, including white frame, Edition of 10, digital C-Print, based on 7 original expired Polaroids. Signature label and Certificate. Arti...

Hitchhiking (Till Death do us Part) - 2005, 20x20cm, Edition of 10, digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 9035. Not ...

On the road (Till Death do us Part) - 2005 20x20cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 9036. Not moun...

Everything put Together (Suburbia) - 2004, 50x50cm, Edition of 1/10, digital C-Print based on a Polaroid. Signature label with Certificate, Not mounted. The project "Suburbia" ...

The Tears we cried (Till Death do us Part) - 2007, 20x20cm, Edition of 10. Digital C-Print print, based on a Polaroid, Certificate and Signature label. Artist Inventory No. 8583. N...

The Letter (Till Death do us Part) - 2007, 20x20cm, Edition of 10. Digital C-Print print, based on a Polaroid, Certificate and Signature label. Artist Inventory No. 8810. Not mount...

Henry watching Athena Dance (Stay) - 2006 37x36cm, Edition of 9/10, analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label, artist Inven...

Happy endings (29 Palms, CA) - 2016 from 'The Girl behind the White Picket Fence' Original Polaroid - Unique Piece 1/1, 10.4 x 10.2 cm including white Polaroid frame. Signed on b...

Dugong (Stay), from Ryan Gosling's memory sequence - 2006, 57x70cm, Edition 3/5, analog C-Print, printed by the artist on Fuji Archive Crystal Paper, based on a Polaroid. Certific...

You turn from Me (Till Death do us Part) - 2005, 20x20cm, Edition 1/10, digital C-Print print, based on a Polaroid, Certificate and Signature label. Artist Inventory No. 9555.01....

Monitored (Stay) - with Ryan Gosling 2003, 60x30cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certificate, artist Inventory No. 30...

Wild Things (Till Death do us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

Today's Heros - close-up (Suburbia) - 2004, 28x37cm, Edition of 10, digital C-Print based on an expired Polaroid. Artist Inventory #20959. Signature label with Certificate, unmount...

White Picket Fence (Suburbia), diptych, 2004, Edition of 3/5, 60x80cm each, installed 60x170cm, Analog C-Prints, hand-printed by the artist, based on 2 Polaroids, Mounted on Alum...

Salton Sea Harbour (California Badlands) - 2016, 20x24cm, Edition 10/10. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 18087. Not moun...

Hans (Stage of Consciousness), 2007, 75x93cm, Edition of 5, analog C-Print, hand-printed by the artist, Mounted on Aluminum with matte UV-Protection, Signed on verso, artist In...

'Ryan Gossling' (Stay) - 2006, 20x20cm, Edition of 2/10, digital C-Print, based on a Polaroid Certificate and Signature label artist Inventory No. 2447.02 Not mounted. Stefanie Schneider: 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 star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context.

 
Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.
 The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling...

Untitled (29 Palms, CA) - 1999, 58x56cm, Edition 2/10, analog C-Print, hand-printed by the artist, based on a Polaroid, Not mounted, Signature label and Certificate, artist inven...

Road Trip (In the 80's) - 2016 20x20cm, Edition of 10, Digital C- Print, based on a Polaroid. Certificate and signature label. Artist inventory number: 19470 Not mounted. Stefan...

Burned (Self Portrait), 1999 Edition of 2/10, 20x20cm Print on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on a Polaroid. Signature label and Certificate. Not ...

Stefanie Schneider's Minis - Through the looking Glass (California Badlands), 2010 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwi...

Stefanie Schneider Minis - The Girl (The Girl behind the White Fence) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on...

The Smoke Jumper (29 Palms, CA), 2007, 20x24cm Edition 1/10,digita C-Print, based on a Polaroid, Signature Label and Cerificate, artist Inventory No. 4154.01 Offered is a piece from...

After the Hail (Stay) 2005, 100x50cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certificate, artist Inventory No. 30002. Not mount...

Untitled (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 38x46cm, Edition of 10. digital C-Print print, based on a Polaroid, mounted under matte Acrylic glass. S...

Road Trip (Back in the 80's) - 2016 20x20cm, Edition of 10. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 19470. Not mounted. TH...

'Untitled' (Fairytales) - 2006, 48x59cm, Edition 2/5, analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, matte finish, based on a Polaroid, Certificate and ...

Pool at Night (Suburbia) 2004, 50x50cm, Edition of of 10, digital C-Print based on an expired Polaroid. Signature label with Certificate, unmounted. The project "Suburbia" was shot...

Driving (Strange Love) 2003, 30x96cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certificate, artist Inventory No. 30004. Not mount...

Roosevelt Island (Strange Love) - 2003, 85x30cm, Edition of 10, digital C-Print, based on a 35mm analog Negative strip, signature label and certifi...