Art by Medium: Polaroid

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

Are we human (or are we dancers)? - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inven...

The Visit, 2018, Edition of 10 - 40 x 40 cm - Digital C-Print based on a Polaroid, Not mounted. Signed on back and certificate. Clare's work is presented in...

Pause - 2020 40x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signed on the back and with certificate. Artist inventory PL2020-949. N...

Valhalla - 2021 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Signed on the back and with certificate. Artist inventory PL2021...

If I was a different Girl (Till Death do us Part) - 2005 48x58cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 94...

The Cold Light of the Morning (Bombay Beach) - 2024 - 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certifica...

All my most Beautiful - 2016, 20x20cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL...

Confinement – 2020 Edition of 7 + 2 Artist Proof Archival Print, based on a Polaroid Signed on the back with certificate Artist inventory: PL2020-858 Unframed Kirsten Thys van den A...

The Receiving End - 2018, 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2018...

Orange Flowered Couch at Sunset (29 Palms, CA) - 1999 Edition 1/10, 20x20cm, Archival C-Print, based on a Polaroid Artist inventory Number 19762 Not mounted. Stefanie Schneider:...

Tussle (The Princess and her Lover) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Storms- 2024 - 25x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-32. Not mounted....

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 Schnei...

Erasure - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signature label with certificate. Artist inventory PL2020-939. Not mounted. Ki...

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...

Head over Heels 2019, 20x20 cm, 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 PL201...

Lust for life- 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artis...

Bonjour Robert - 2016, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2016-17...

Living Room (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate...

Last Thing on my Mind - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-...

Blowin' In The Wind III (The Last Picture Show) - 2002, 38x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature ...

The Princess and her Lover, 2007 Edition of 10, 20x24cm, digital C-Print based on a Polaroid. Signature label and Certificate. Artist I...

Cream - 2021 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2021-1012. Not...

Flat - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2020-964. Not mount...

Sleeping with Ghosts (Bombay Beach) - 2023 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory...

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006 20x20cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatur...

Fall Apart - 2019 20x20 cm, Edition 2/7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Signed on the back and with certificate. Artist inventory #PL2019-714. No...

Unique Piece Original Polaroid Framed and Passepartout Evocative, sensual and voluptuous, Marc Lagrange's work celebrates beauty and pleasure. With a predilection for nudes and port...

Anyway the Wind Blows - 2017 25x19cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2...

Ifa - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL2017-237. Ki...

Vice - 2024 - 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-046. Not mounted....

So Still (Sidewinder) - 2005 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20cm, Edit...

Untitled (City of Industry) - 2004 38x36cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate and Signatur...

Through the Veil (Oxana's 30th Birthday) - 2007 20x65cm including the white frame. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. C...

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

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 ...

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...

'Les Culs d’O' (Odd Series), 2013 / 2014, 15x11cm - 0,8 mm Digital archival print mounted on MDF - matte coating, Edition 1/25 Hand signed & numbered on the back by the artist Artist...

Forlorn - 2021 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2021-1032. Not ...

Unique Piece Original Polaroid Framed and Passepartout Evocative, sensual and voluptuous, Marc Lagrange's work celebrates beauty and pleasure. With a predilection for nudes and port...

Stefanie Schneider's Minis Runaway (Haley and the Birds) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on the Polaroid Polaroid sized open Editi...

Paree #13, 2013, Edition printed 2018, Edition 1/7, 25x25cm plus 3cm white border. [From the series Goldenbogen & Zouzou] Digital archival pigment print on beautiful PHOTO RAG ® UL...

150,000 Dollars (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Ce...

Voices - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-913. Not mounte...

Daisy and Austen in front of Trailer (Till Death do us Part) - 2005 Proof b4 Printing / 128x125cm signed, analog C-Print, hand-printed by the artist, based on the Polaroid, signed ...

Absynthe - 2021 20x25cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on a Polaroid, Signature label and certificate. Artist inventory PL2021-1020. Not mounted. ...

'Figure study in black and white I' 2016, Edition 2/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist invent...

Wild Things (Till Death do us Part) triptych - 2005, 20x20cm each, 20x70cm installed, Edition of 10, plus 2 Artist Proofs. 3 Archival C-Prints, based on the 3 Polaroids. Certifi...

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...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18420. No...

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, ...

Autumn Drift (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist ...

'A Portrait of the Artist as a Young Woman' part of the series 'A Girl Called N.' - 2019 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signatu...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

In a world dominated by digital precision and instant gratification, Pia Clodi stands as a beacon of nostalgia and unpredictability, finding beauty in the fleeting moments captured t...

Maya - 2018, 60x48cm, 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 PL2018-445 K...

Once we were Warriors (Stage of Consciousness) - 2007 from the 29 Palms, CA project. 58x56cm, Edition 1/5. Analog C-Print hand-printed by the artist, based on a Polaroid. Certifi...

'Scream if you wanna go faster' - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inve...

Weight of the World - 2017 30x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate Artist inventory PL2017-...