Art by Medium: Polaroid

Scarlett (2019) Edition of 10 - 40 x 40 cm Archival C-Print based on the Polaroid, not mounted. Signed on back and certificate. Scarlet - Shot 2019 on 600 film In part influenced...

Mr. Postman, 2018 48x60cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory #PL2018 - 409. No...

The Dreaming - 2019 Edition of 10 - 20x20 cm. Archival C-Print based on the Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare ...

Route Nationale 98 (2019) Edition of 10 - 40 x 40 cm. Archival C-Print based on the Polaroid. Signed on back and certificate. Not mounted. Route Nationale 98- Shot 2019 on 600...

Lady Bird (Chicks and Chicks and sometimes Cocks) - 2019 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. A...

The Girl (Zuma Beach) - 1999 38x49cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory #20895. Not ...

Nothing to Lose (Sidewinder) - 2005 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3142...

Pink Flower Carpet (Zuma Beach) - 1999 43x59cm, Edition 2/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signed on back and Certificate. Artist Inventory #2...

No Lifeguard on Duty (Oxana's 30th Birthday) - 2010 58x56cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Artist invent...

Sunday Afternoon (Malibu)n - 2004 39x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on the orignal Polaroid. Artist i...

Stardust (Las Vegas) - 1999, 44x59cm, Edition 5/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventory #553.0...

Vagabond (American Depression) - 2017 40x40cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2...

The Millennial Falcon (Sidewinder) - 2005 100x98cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist Invento...

Jean Baptist's Dream Sequence - part 5 - (Sidewinder) - 2005 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Ce...

Late for the Sky - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2020-98...

Kiss from a Rose - 2019, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2019-...

My name is Bond... Jane Bond (Heavenly Falls) - 2016 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artis...

Beautiful Bond (Heavenly Falls) - 2016, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signa...

Mockingjay (Heavenly Falls) - 2016 48x58cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number...

The Dwell - 2018 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival Print on Hahnemühle photo rag paper, based on the Mixed Media collage of a Spectra Polaroid and glitter. Si...

Maya - diptych, 2016 17x38cm, Edition of 10 plus 2 Artist Proof. Archival photograph printed on Hahnemuhle photo rag paper, based on 2 original Polaroids. Signature label and ce...

Girl at Fence III (The Last Picture Show) - 2005, 58x56cm. Edition 2/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Arti...

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

Seagull (Zuma Beach) - 1997 38x49cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 203. Not moun...

By the Sea (Zuma Beach) - 1999 38x49cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 198. Not m...

The Lonely Heart's Radio Station, Wonder Valley (The Girl behind the White Picket Fence) - 2014 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroi...

Asleep (The Girl Behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #16532. not mounted. 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 an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick...

The Journey I - 2019 Influenced by 1950s and 1980s cinema, The Journey sees a young woman heading off into the unknown where fate and chance all come into play. Edition of 10 - 40 ...

Mirror - 2019 Shot 2019 on Polaroid 600 film - Influenced by 1960s cinema the image is about both revealing and concealing identity. Edition of 10 - 40 x 40 cm. Archival C-Print, ...

Visions at the Mirrored Palace (Shot 2019 on 35mm film) Influenced by American Neo Noir and films such as The Long Goodbye, Point Blank, and LA Confidential. It was also influenced ...

Misty watercolor memories (Till Death do us Part) - 2005 50x58cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. ...

Dreamlife of Angels (Till Death Do Us Part) - 2007 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Certificate and Signature label artist I...

Dreamlife of Angels (Till Death Do Us Part) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Certificate and Signature label Artist I...

Last Day of Summer (2019) Edition of 10 - 40 x 40 cm. Archive C-Print based on the Polaroid. Signed on back and certificate. Not mounted. Clare Marie Bailey Works and Lives: U...

Evangelines Dream (Shot 2018 on 600 film) Influenced by the phenomena of out-of-body experiences. The protagonist views herself from a world outside of her body after an unexplained...

Morning Empire (Strange Love) - 2005 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. ...

Empire Morning Fog (Strange Love) - 2005 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory ...

Cloudy Empire (Strange Love) - 2005 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. 6...

Afternoon Empire (Strange Love) - 2005 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No...

Road to Nowhere (California Badlands) - 2010 20x24cm, Edition of 10 plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Sunset (Stranger than Paradise) - 1997 44x56cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory Number 105.02. Signature label an...

California Depression (California Badlands) - 2010 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

California Badlands II (California Badlands) - 2016 20x20cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, based on a Polaroid Certificate and Signature label artist Inven...

The Safari Inn (California Badlands) - 2010 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Ski Inn (Bombay Beach) - 2018 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Not mounted. Bombay...

Bombay Palm Trees (California Badlands) - Bombay Beach) - 2019 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certifica...

Last Stop Bombay Beach (California Badlands) - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist In...

Table for Two (Bombay All Day) - 2019 20x24cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inven...

Dreams at Dawn (2019) Edition of 10 - 20 x 20 cm. Archival C-Print based on the Polaroid, not mounted. Signed on back and certificate. Dreams at Dawn- Shot 2019 on 600 film Influ...

Money Talks (Las Vegas) - 2018 24x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid, not mounted. Signature label and certificate. Artist...

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 art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) This piece: Coney Island (Stay) - 2006 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 2197. Not mounted. 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...

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 art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) This piece: Coney Island (Stay) - 2006 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 2196. Not mounted. 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...

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 Sc...

Ancient Bridge Views III (Stay) - 2006 20x20cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2490. Not mounted. 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...

Headless (Stay) - 2006 featuring Ewan McGregor 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #5084. Not mounted. 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...

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 Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie. East River View (Stay) - 2006 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 2598. Not mounted. 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...

Not a Through Street (Drive to the Desert) - 1999 44x59cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signed o...

Interstate 10 Overpass (Drive to the Desert) - 1999 44x59cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signe...

Take Me to Heaven (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...

Mirror Mirror (29 Palms, CA) - 2007 20x20cm, Edition of 55. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory #5771. Not mounted. In...