Art by Medium: Polaroid

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...

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...

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...

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

Holding on - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label and certificate. Artist inventory PL219-644. K...

'Departure' (Bombay all Day) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, not mounted. Signature label and certificate. Artist inv...

Your Eyes on Me (Till Death do Us part) - 2005 40x39cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid, Certificate and Signature label. ...

Daisy in Pool (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...

Silence and their words (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. Art...

Above Water (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signa...

Another Galaxy, 2017, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, Based on the original Polaroid, not mounted. Signature label with certificate. Artist inventor...

A Pink Afternoon (Shot 2019 on 600 film) Shot in the dusty dunes in mid-summer it evokes a feminine ritual where the spectral orbs come out to play and hover round the edges Editio...

24 hr Psychic Desert Hotline - 2018 Edition of 10 - 40 x 40 cm Archival C-Print, based on a Polaroid. Signed on back and certificate. Not Mounted. about: 24hr Psychic Desert Hotl...

Madrugada Shot 2019 on 600 film Is about the time and hours between Midnight and Sunrise. It is the companion piece to the Red Room. Edition of 10 - 40 x 40 cm - Archival C-Print ...

Love (Chicks and Chicks and sometimes Cocks) - 2018 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artis...

Sunny (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. 6151. No...

Living by voices we shall never hear (Chicks and Chicks and sometimes Cocks) - 2017 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist inv...

Radha doing her Nails II (29 Palms, CA) - 1999 Edition of 10, 50x49cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist inventory 18391. Not mount...

Purple Max (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label Artist Inventory #793. Not...

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...

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...

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...

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...

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...

Everything changes (Suburbia) - 2004 28x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label with Certificate, Artist Inventory # 1709...

Blue Pool (Suburbia) 2004 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Not mounted. The project "Subur...

Artificial Flowers (Suburbia) 1999, 110x150cm, Edition of 2/3. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the original Polar...

Still Good Friends (Suburbia) - 2004 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label with Certificate. Artist Inventory No....

The Pool - (2019) Edition of 10 - 40 x 40 cm Archival C-Print based on the Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare M...

For The Animals Shall Not Be Measured By Man - 2017 (Chicks and Chicks and sometimes Cocks) 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. ...

'Long Way Home II' by Stefanie Schneider (Stranger than Paradise) - 1999 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, Not mounted, Artist ...

Lone Pine Motel II (The Last Picture Show) - 2005 Edition 1/5, 38x36cm each, installed with gaps 38x125cm. 3 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Pa...

'Stars in the Dance', 2009 30x30cm. Edition 1/10. Archival C Print based on a multiple exposure Polaroid, mounted under Plexi. Signed on back. 'We are all in the gutter, but some of us are looking at the stars' - Oscar Wilde This piece will be exhibited at the Bombay Beach Biennale in the newly founded Polaroid Museum in it's permanent collection. The Museum opens its doors in March 23rd, 2019. AND in the "Instant Dreams" Polaroid curation by Stefanie Schneider at Saatchi's The Other Art Fair in Los Angeles 28/03/19 - 31/03/19. Urizen Freaza was born in Tenerife in 1982 and is based in Berlin since 2010. He's a self-taught photographer and film-maker. Self-taught meaning that this is a path he's still walking, while hoping there is always more path to walk. He's a member of the Film Shooters Collective and part of the team behind the analogueNOW! festival in Berlin. Vita: Group exhibitions: 2018 'Feel', Brooklyn Film Camera, New York, USA 2017 'The decisive light', Projekteria, Barcelona, Spain 2017 'The face', Darkroom Gallery, Vermont, USA 2017 'A surreal vision', Galería LoosenArt, Roma...

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

The party is over (Oxana's 30th Birthday) - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on a Polaroid. Certificate and Signature label. Arti...

Desert Living (California Dreaming) - 2017 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

Manhattan (Strange Love) - 2018, 43x39.5cm, Edition of 5 plus 2 Artist Proofs. Archival C-Print, based on a 35mm analog Negative. Signature label and certificate. Artist Invent...

Angie (Suburbia) featuring Aussie actress Radha Michell - 2004 38x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label with Certifica...

In the witch's cave (Journey to the Center of the Earth) - 2020 60x50cm, Edition of 10 plus 2 artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on the orig...

In the Witch's Cave (Journey to the Center of the Earth) - 2019 60x50cm, Edition of 10. Photograph printed on Canson Barita Fiber Rag 340gr, based on the original reclaimed Fuji I...

The Presence - 2019, Edition of 10 - 40 x 40 cm Archival C-Print based on the original 600 Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Li...

High Rise - 2020 Edition of 10 - 40x40 cm. Archival C-Print based on the original Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK C...

Silencio (shot 2020 on 600 film) - Edition of 10 - 40 x 40 cm. Digital C-Print based on a on a 600 Polaroid. Signed on back and certificate. Not mounted. In part influenced by...

Pondering at the Pool (2019) Edition of 10 - 40 x 40 cm. Archival C-Print based on the Polaroid, Signed on back and certificate. Not mounted. Clare Marie Bailey Works and Lives...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester May - 2023 Original Polaroid, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in fr...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester Kate - 2023 Original Polaroid, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in f...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester Ella - 2023 Original Polaroid, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in f...

The Beef Sisters A Polaroid-based art series by Kris 'Curtiz' De Meester Emily - 2023 Original Polaroid, mixed media. 10.7 x 8.8 cm (total), 7.8 x 7.6 cm (image area). Signed in ...

A Gift - 40x50cm. Edition 1/10 plus 2 Artist Proof. Archival Print based on an original Polaroid on Hahnemühle photo rag paper. Signature label and certificate. Not mounted. abo...

Pray for the Rain (Till Death Do Us Part) - 2005 40x48cm, Edition of 10. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9072...

Rosegarden II (Suburbia) - 2004, Edition of 1/5, 60x80cm. analog C-Print, hand-printed by the artist, based on the original Polaroid. Mounted on Aluminum with matte UV-Projecti...

Impact - it all began quite simply I was very happy (Wastelands) - 2003 Edition of 5, 100x100cm. Archival C-Print, based on the Polaroid. Artist inventory Number 1189.08. Mounted...