Art by Medium: Polaroid

Gaelle With Broken Arm - 2021 70 x 57 cm, Edition of 5 + 2 Artist Proofs. Photograph printed in Hahnemühle Baryta Photo Rag 340gr, based on the original reclaimed Fuji Instant F...

Leaving in a Jet Plane (29 Palms, CA) diptych - 2005 38x36cm each, installed 38x80cm. (sold out Edition of 5), Artist Proof 2/2. 2 Archival C-Prints, hand printed by the artist, ...

Unbound (Wastelands) - 2003 Edition 3/10. 38x36cm. Archival C-Print on Crystal Fuji Archive paper, matte surface, based on the Polaroid. Artist inventory Number 836. Signature ...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006 20x24cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatur...

Baltic pines, 2025 A study of the silhouette and stillness of the Baltic landscape. Captured on Polaroid film. Archival pigment print on Hahnemühle Photo Rag Baryta paper. Stamped,...

India and Gaëlle, Summer 2020 40 x 30 cm, Edition 4 of 10 + 2 Artist Proofs. Photograph printed in Hanemühle Baryta Photo Rag 340gr, based on a Fuji Instant Film original (not ...

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 Invent...

The hood is falling short (2017) 40x48 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Once / Cristin...

Kali - 2021 70 x 57 cm, Edition of 5 + 2 Artist Proofs. Photograph printed in Hahnemühle Baryta Photo Rag 340gr, based on the original reclaimed Fuji Instant Film Negative (not m...

Oasis (Sidewinder), 2005, Edition 3/5, 16 pieces each 48x47cm analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on Polaroids mounted on Aluminum with matte UV-Protection, based on an expired Polaroids, Artist inventory Number 3001.03 Installation shot at 'Mulholland Distilling' in LA with Danny Fox...

Henry (Stay), from Ryan Gosling's memory sequence - 2006 38x36cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. ...

Play among the Stars (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

But I Love You (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certific...

Lucia and Tyka - 2019 55x65cm, Edition of 5 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on bac...

Waiting (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature lab...

The Suitcase (Heather's Dream) - 2013 part of "The Girl Behind the White Picket Fence" 38x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Cert...

'Caitlin aka Jane Bond III' (Heavenly Falls) - 2016 20x20cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted. Certificate and signature label, artist inventor...

Stefanie Schneider's Minis Salt'n Sea (California Badlands) - 2010 Signed and signature brand on verso. Lambda digital Color Photographs based on the Polaroid. Sandwiched in between...

Alexithymia (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...

Cries and Whispers (Till Death Do Us Part) triptych - 2007, 20x24cm each, 20x80cm installed, Edition of 10, plus 2 Artist Proofs. 3 Archival C-Prints, based on 3 Polaroids. Cert...

Max in front of Motel (29 Palms, CA) - diptych Edition of 10, 70x60cm each, 70x125cm installed with white 'Polaroid' frame. 2 analog C-Prints, hand-printed by the artist, based o...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. Stefanie Schne...

India in Blue (2018)
 48x40 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted). About myself I was born...

In Bloom - 2020 Edition of 10 plus 2 Artist Proof, 25x20cm, Digital C-Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signed on back with certifica...

Wild Things (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 Inventor...

Interstate Flashback (Vegas) - 2004 55x72cm, Edition 4/5, Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature label and Certificate artist inve...

Cleaning Up - Oxana's 30th Birthday (29 Palms, CA) - 2010 76x101cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Pola...

Joyce Tenneson is an accomplished American photographer best known for her mystical and sensual photographs of the female form. At once haunting, enigma...

Field of Briar (Sidewinder) - 2005 Edition of 10, 20x24cm. Digital C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3143. Not mounted. St...

Low Water (2014), 40 x 40 cm, Edition 1/7. Photograph printed in Hahnemühle Baryta Photo Rag 340gr, based on a Fuji Instant Film original (not mounted). Signed on back with Cert...

Baltic wetlands, 2025 A study of silhouette and stillness of the wetland landscape. Captured on Polaroid film. Archival pigment print on Hahnemühle Photo Rag Baryta paper. Stamped,...

Red Green Pathway - 2021 100x82cm, Edition 1/5. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back with Certificate...

Ravished (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 #9...

Buried (Stranger than Paradise) - 2003 Edition of 5 plus 2 Artist Proofs. 38x36cm each, 90x175cm installed. 8 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive P...

Sisyphus' Sister (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certi...

I can’t have you leave (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and ...

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 ...

Leaving Town (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 3...

Ancient Bridge Views (Stay) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Invent...

Illusions (Till Death Do Us Part) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist ...

Big Boy (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2266 Not mounted. Stefanie Schneide...

Radha at Fence (29 Palms, CA) - 1999 featuring Radha Mitchell 125x123cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed and enlarged by the artist, based on the P...

I grieved for the dreamy Girl I once was and left behind (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on t...

The Muse (29 Palms, CA) - 2009 38x37cm, Edition of 5, Artist Proof 1/2, analog C-Print, hand-printed by the Artist, mounted on Aluminum with matte UV-Protection, based on the Pol...

Gone (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

Oasis XII (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #30...

Untitled (The Last Picture Show) - 2006 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory number: 1020. Signature l...

Dusk (The last Picture Show) - 2005 Edition of 5, 38x36cm each, installed with gaps 124x118cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on t...

Oasis IV (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #300...

Oasis III (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #30...

Oasis XV (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #301...

Oasis XI (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #301...

Gloriosa Noire, 2025 A study in silhouette and stillness. Flame curves. Velvet dark. Captured on Polaroid film, a bloom both vanishing and eternal. Archival pigment print on Hahnem...

The End of Love (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certifi...

You’re right. You’re always right (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature...

The Preparation (Heather's Dream) - 2013 part of "The Girl Behind the White Picket Fence" starring Udo Kier 38x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based ...

If you love like you say you do (Till Death do us Part) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature lab...

The Lonely Hearts (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certi...

Radio Frequency (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certifi...

'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...