Art by Medium: Polaroid

Little Darlings (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

Lerici '25 is an original black and white Polaroid photograph captured on SX-70 film along the Ligurian coastline of Italy. The image is part of a limited edition of 10, hand-signed ...

Palm Springs Palm Trees X (Californication) - 2019 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist...

Wild Things (Till Death do us Part) - 2008 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9503 Not mounted....

My Girl (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 #9506...

Something (Till Death do us Part) - 2005 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9445. Not mou...

My Girl (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 Inventory #92...

Wild Things (Till Death do us Part) - 2005, 20x24cm, Edition of 10, plus 2 Artist Proofs, Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #...

Breakdown (Bombay Beach) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL...

Always Sometimes, 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - P...

Barricade, 2020 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2020-90...

'Waiting II' (Sidewinder) - 2004 80x80cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Signature label. artist Inventory # 303...

On the Run (Till Death do us Part) - 2005, 24x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

D. and Felix (Stranger than Paradise) - 1997 Edition of 2/30. Image size 16 x 21.6 inch, External dimensions: 17.7 x 23.3 inch. Archival C-Print, based on the Polaroid. Mounted...

Forgiveness Then (Sidewinder) - 2005 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist Inventory 3364....

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame in...

Henry watching Athena Dance (128x126cm) & Sam, Interior Hospital (37x36cm) (Stay), diptych, 2006, Artist Proof 1/2, analog C-Print, hand-printed by the artist, based on the Polaroid...

Once We Were Warriors (Stage of Consciousness) - part of the 29 Palms, CA project - 2007 - featuring Radha Mitchell 48x46cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, ...

Mindscreen 1 - 1999 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #240 Not mounted. Stefanie Schneider's ...

Moments in Time (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3331 Not mounted. Stef...

Village Motel Sunset (Stranger than Paradise) - 2005 20x20cm, sold out Edition of 5, Artist Proof 2/2 (the very last from this edition), Archival C-Print, based on the Polaroid, ...

Little Darlings (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inve...

From the Hip, 2020 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2020...

Untitled (Beachshoot) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1404. N...

Asleep, 2020 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2020-833. ...

Siren (2016) - 20x25cm, Edition of 10 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on the original Fuji Instant Film (not mounted). Signed on back with...

Andy Warhol (1928-1987) Committee 2000 Glasses (1982) Unique polaroid print 4.25 x 3.375 in (10.8 x 8.6 cm) Unsigned Authenticated by the Authentication Board of Andy Warhol Founda...

Star me Kitten - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL201...

Eternity (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inven...

48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9309 Not mounted. Stefanie Schneider's...

Palm Trees on Wilcox (Stranger than Paradise) - 1999 78x76cm, Edition of 100. Archival C-Print based on the original Polaroid. Mounted under matte Plexiglass. Artist inventory number: 398. Signed on back and Certificate. Stefanie Schneider – Palm Trees on Wilcox...

Self-Portrait - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 20x20cm. Digital C-Print based on a Polaroid. Not mounted. Leanne Surfleet is an analo...

'Primary Colors' (Stranger than Paradise) - 2001, 20x20cm, installed 70x70cm, sold out Edition of 10, Artist Proof 2/2, archival C-Print, based on a Polaroid. Certificate and Si...

Puppy Love (Till Death do us Part) - 2005 30x40cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Driving - Henry's Memory Sequence (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2498 Not mo...

Stefanie Schneider Polaroid sized unlimited Mini 'Long Way Home' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Edit...

2nd Thoughts (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist invento...

The Juncture (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventor...

Lerici '25 is an original black and white Polaroid photograph captured on SX-70 film along the Ligurian coastline of Italy. The image is part of a limited edition of 20, hand-signed ...

Boy Running (Point Dume) - 2000 Sold out Edition of 5, Artist Proof 1/2. 100x133cm. Analog C-Print, hand printed by the artist, based on the original Polaroid. Signature label a...

Untitled (Oilfields) - 2004, 60x60cm, Edition 5/10, Analog C-Print, hand-printed by the artist, based on the original Polaroid, not mounted. Certificate and Signature label. Art...

Stefanie Schneider Polaroid sized unlimited Mini 'Memory of a Dream (29 Palms, CA)' - 2006 - 1 Archival Color Photograph based on the original Polaroid. Polaroid sized open Editio...

Stefanie Schneider Polaroid sized unlimited Mini 'Planes' - 2001 - signed in front, not mounted. 1 Digital Color Photograph based on the Polaroid. Polaroid sized open Editions 19...

"Doris and Henry (and her brothers)" is an original piece by Shawn Theodore made from found/family photos, polaroid lift, acrylic on wood panel. This pieces measures 16.75"h x 16.75"...

Dreamscape (Wastelands), 2003 20x20cm 
Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. 
Certificate and Signature label. 
 Artist inventor...

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...

Lucia at Fourteen (2018) 40x51 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Once / Cristina Fonts...

Radha Pink (29 Palms, CA) Original Polaroid - Unique Piece 1/1. 10.7 x 8.7 cm. Artist inventory 616.00. Signed on back. Original Polaroids for Sale — The Heart of My Work For ...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Lerici '25 is an original black and white Polaroid photograph captured on SX-70 film along the Ligurian coastline of Italy. The image is part of a limited edition of 20, hand-signed ...

Forgotten Pool (2015), 50 x 50 cm, Edition 1/5. Archival Print on Canson Baryta Fiber Rag 310gr, based on a Fuji Instant Film (not mounted). Signed on back with Certificate. C...

Ghost Story - 2021 Archival Print based on an original Polaroid on Hahnemuhle photo rag paper. 25x20cm, Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not ...

Palm Springs Palm Trees X (Californication) - 2019 78x76cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Lerici '25 is an original black and white Polaroid photograph captured on SX-70 film along the Ligurian coastline of Italy. The image is part of a limited edition of 20, hand-signed ...

"EXAMINATION" is an original piece by Shawn Theodore made from found/family photos, polaroid lift, acrylic on wood panel. Theodore delves into the specific experiences of African American families, capturing a longing for lost photographs, missing heirlooms, and vanished archives. Using a blend of traditional portraiture, found photographs, paint, paper, pencils, and digital manipulation, Theodore creates archetypes representing hypothetical family members, spiritual guardians, and ancestors. These boldly crafted archetypes inhabit an imagined macro-family album, offering a unique perspective on portraiture, connection, and community. Theodore's work aims to deepen spiritual connections and encourage personal introspection. This pieces measures 16.75"h x 16.75"w framed and comes with a gallery-issued Certificate of Authenticity. Shawn Theodore (b. 1970) was born in Germany to American parents from Philadelphia, and currently lives and works in Philadelphia. Theodore was awarded the prestigious PDN’s 30 New & Emerging Photographers to Watch (2019), the Getty Images / ARRAY ‘Where We Stand’ grant, and a grant from the Knight Foundation for ‘A Dream Deferred’. Theodore was a two-time nominee for the Pew Center for Arts & Heritage Fellowship and a nominee for the Magnum Foundation Fund. He is an Associate Adjunct Professor at the University of the Arts, a trustee of The Print Center, a trustee of the Rush Philanthropic Arts Foundation, and a former trustee of the Philadelphia Photo Arts Center. Theodore was announced as a two-time nominee of The Pew Center for Arts & Heritage Fellowship and a nominee of the Magnum Foundation Fund in 2018. In the following years 2019 and 2020, he was awarded the PDN's 30 New & Emerging Photographers to Watch and AI-AP American Photography 35. He has had several solo exhibitions and is included in several group exhibitions. His work is held in the permanent collections of the Philadelphia Museum of Art, Philadelphia; the collection of the Philadelphia Library, Drexel University's Center for Black Culture, the Mennello Museum of American Art, Orlando; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Chicago; the Walker Center, Minneapolis; the National Museum of African American History and Culture, Washington D.C.; the Dallas Museum of Art, Dallas; and the Legacy Museum, Montgomery, among others. Artist photo...

A Princess' Life (High Desert) - 2019 Edition 1/10, 20x20cm. Digital C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 22182 Not mounted. Stef...

Green Chair (29 Palms, CA) - 1999 58x56cm, Edition 2/10. Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on the original Polaroid, not mou...

Memory of a Dream (29 Palms, CA) - 2006 38x36cm, Edition 2/10. Archival C-Print, based on the Polaroid. Certificate and Signature Label. Artist inventory Number 3602. Not mounted....

Cristal (Till Death Do Us Part) - 2005 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...