Art

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...

Train crosses Plain (Wastelands) Edition 2/5, 55x72cm, 1999, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on an...

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...

Blue Fingernails (29 Palms, CA) - 1999 - 50x50cm, Edition of 10. digital C-Print, based on a Polaroid. Signature label and Certificate. Artist inventory number: 21083. Not mo...

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...

The Princess (The Princess and her Lover), 2009 - Edition of 2/5, 125x123cm. Analog C-Print, hand printed by the artist and based on a Polaroid, mount...

Whisky Dance III (Sidewinder), 2005 20x24cm, Edition 1/10, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory # 3207, not mounted Stefanie S...

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...

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 #...

Max and Radha sitting on Rock (Long Way Home), 1999 sold out Edition of 5, Artist Proof 2/2, digital C-Print based on a Polaroid Certificate and Signature label artist Inventory Nr. ...

'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...

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...

'Untitled' (Oilfields) 2004, 20x20cm each, installed with gaps 20x43cm, Edition 9/10, digital C-Print, based on a Polaroid, signature label and certificate, artist Inventory No. 121...

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...

'Untitled' (Oilfields) 2004, 60x60cm, Edition 4/10, Analog C-Print, based on a Polaroid Certificate and Signature label, artist Inventory No. 1220.04 Not mounted. OILFIELDS, 2004...

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...

Dugong (Stay), from Ryan Gosling's memory sequence - 2006, 57x70cm, Edition 4/5, analog C-Print, handprinted by the artist on Fuji Archive Crystal Paper, based on a Polaroid, Ce...

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...

Stefanie Schneider's Minis - The size of a Polaroid. Lollipop (Beachshoot) featuring Radha Mitchell, 2005. Lambda digital Color Photographs based on a Polaroid. Sandwiched in be...

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...

Her last Call II (The Girl Behind the White Picket Fence) - 2013 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory # 16495. Not mounted. Featuring Heather Megan Christie. Offered is a piece from the movie: The Girl Behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in a vintage Spartan travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom despite the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10-acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix...

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 ...

Whisky Dance (Sidewinder) - 2005 - Edition 2/5, 8 pieces installed including gaps 172x338cm, 82x80cm. 8 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, ...

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 ...

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...

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...

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...

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...

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...

Belleville (Paris ) - 1995 Edition of 5, 60x50cm including white borders. Analog C-Print, hand-printed by the artist and based on a Polaroid, Signature label and Certificate. ...

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...

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...

Illuminated (Deconstructivism) - 2015 - about the narrative potential of images. 20x24cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 20271. Signature l...

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...

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...

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...

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...

Crow Burial (Sidewinder), triptych - 2005, 38.5 x 38 cm each, installed 38.5 x 124cm, Edition 1/5, analog C-Print, hand-printed by the artist in September 2018, based on 3 Polaroi...

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...

Oxana's 30th Birthday (29 Palms, CA) - 2007 Edition of 5 plus 2 Artist Proofs, 78x76cm, analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archival Paper with a m...

Lullaby (The Girl behind the White Picket Fence) - 2013 - 48x58cm, Edition of 10, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory # 15585. Not mounted. Stefanie Schneider's THE GIRL BEHIND THE WHITE PICKET FENCE

 Stefanie Schneider’s taken her artwork to film. With over 10 years in the international art world to support her, ‘The Girl behind the White Picket Fence’ is Schneider’s first feature film. A dedicated Polaroid fan since the mid 1990’s who mastered the analog medium to it’s final dying breath. Since Polaroid stopped making the best film in the world, it’s been Schneider’s goal to buy as much as she could find. Knowing that there will never be another chance to fulfill her lifelong dream to make a movie, using her own original artwork style. Schneider scoured the Internet for Polaroid film. Trucks deliver boxes upon boxes of expired Polaroid film. Testing the randomly working film takes days, turning to years. Years of buying film, script writing, prop production, actor contracts, all done in little bits. Shooting film in California and compiling in Berlin, Germany, back and forth with each season. This film is the result of a dream that started with friends she loved such a long time ago. It’s dedicated to them. They know who they are. 
An artists world of movie stills, ‘The Girl Behind the White Picket Fence’ is a succession of Polaroid film stills. One after another, this film takes this to the limit and still delivers. Sometimes quickly, sometimes slowly, flowing with the rhythm of the music or in the energy the film portrays. The gaps keeps the viewer paying close attention but after a little time, you no longer notice. All photographs are real analog Polaroid film so this is a one off, never to be replicated, a complete window into an artists mind as she sees the world. Sunny, hot, in love, open spaces evoking freedom but also banishment. This project was that each actor would write their own story about love and Schneider would piece them together to make some sense of fate. Ultimately, this work is the vision of Stefanie Schneider. As with any dream, the finished result came about not as originally planned but it happened and will never happen again. This film is about old fashioned analog beauty, combining love, choices of life. It’s a film about searching, about truth and sometimes where that truth takes us. 
This film started out with a vision of grand collectiveness with all participants coming from Schneider’s time in Hollywood ranging from directors to actors, producers to agents and writers to weirdos. The American dream was alive and well in this motley group who fell in love with Schneider’s idea to capture a story about love on Polaroid film. Funding started with Schneider procuring film from all over the world, creating a interactive website for the artists to collaborate on together and collecting material for the script. Shooting locations were scouted and life size props built. Caroline Haertel from ‘micafilm’ based in Berlin Germany joined Schneider who then brought in Kirsten Niehaus from ‘Medienboard Berlin-Brandenburg’ and Barbara Haebe from Arte TV in Germany. Both of whom have been very supportive. 
The concept began to take shape. The realization of how to actually make the film became apparent with each tested Polaroid first taken, scanned, and then finally sequenced to about 4000 frames from over 5,000 actual Polaroid photographs. Each requiring about 30 minutes of work. 
The center of this story is the ‘Lonely Hearts Radio Station’ DJ, played by Steve Marshall who talks to the searching broken hearted in the southern Californian desert. A sad young girl calls in to better understand what is going on which results in an unexpected chain of events. Through dreams, memories and even mystics, Heather finds that you never know with whom, love finds you. There are signs if you only listen. If only, you’re aware. 
Main characters: Hans, the mystic played by the veteran actor Udo Kier. Heather’s a young girl who’s lost her parents played by Heather Megan Christie...

Stevie's new Dress (Sidewinder) 2005, 125x156cm, Edition 1/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on a Polaroid, signed on verso. Artist...

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...

'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 ...

Stranger than Paradise I, 2005, 57x56 cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, signature label and Certific...

Childhood Memories (Paris) - 1995 - Edition of 5, 50x60cm including white borders. Analog C-Print, hand-printed by the artist and based on a Polaroid, Signature label and Certif...

Einsam (Stage of Consciousness) -2007 20x24cm, Edition of 10, Digital C-Print, based on a Polaroid. Artist Inventory # 8334. Signature label and certificate. Mounted on Dibond with...

Oxana (Stage of Consciousness) - 2007 75x93cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid. Mounted ...

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...

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...

'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...

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....

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

A lonely and deserted Place (The Girl behind the White Picket Fence) - 2013, 80x80cm, Edition 2/5. Analog C-Print, hand-printed by the artist on printed on Fuji Archive Paper, ba...

Bubble Dreams Bursting (Cyndi Lauper) from the 'Bring Ya to the Brink' record Album shoot) - 2009 20x20cm, sold out Edition of 5, Artist Proof 1/2. Archival C-Print based on a Pol...

Banished (The Girl behind the White Picket Fence) 60x75cm, Edition 1/5, analog C-Print, hand-printed and enlarged by the artist, based an expired Polaroid. Certificate and Signat...

Love Scene against the Wall (Sidewinder), 2007 Edition 1/5. 4 x 57x56cm, 57x249cm installed with gaps in between the pieces. 4 Analog C-Prints, hand-printed by the artist on Fuji ...