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Stefanie SchneiderMemories of Love III (The Girl behind the White Picket Fence) - Polaroid, Color2013
2013
$500
£380.92
€439.22
CA$699.74
A$781.84
CHF 408.99
MX$9,587.90
NOK 5,226.12
SEK 4,955.75
DKK 3,278.14
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About the Item
Memories of Love III (The Girl behind the White Picket Fence) - 2013
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and signature label.
Artist Inventory # 16502.
Not mounted.
Offered is a piece from the movie: The Girl behind the White Picket Fence
An artist’s world of movie stills, 'The Girl Behind the White Picket Fence' is the continuous succession of Polaroids as film stills. One after another and this film takes it to the limit. Sometimes quickly, sometimes slowly, flowing with the rhythm of the music or in the energy the film portrays. The gaps keep the viewer paying close attention. But this is no Instagram lark; this is real analog Polaroid film. A one off, a complete window into the artist’s mind as she sees the world. Sunny, hot, in love, open spaces evoking freedom but also banishment.
-filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal
(Palms Springs life magazine)
Alchemist of Light, Architect of Dreams
Some artists document the world as it is; Stefanie Schneider reveals the world as it feels. Her work is not merely a collection of images but a sensory landscape, a cinematic excavation of longing, memory, and the quiet beauty of imperfection. In an era obsessed with digital precision, she has built an empire on the unpredictable grace of expired Polaroid film—where chemistry and fate conspire to blur the edges between past and present, dream and reality.
Schneider’s artistry is a rebellion wrapped in tenderness. Born at the very moment Polaroid was gasping its last breath, she embraced its fragility, turning chemical distortions into portals of nostalgia and poetic dissonance. Yet, her art is not just about the medium—it is a philosophy. Each faded hue and melting silhouette speaks to the ephemeral nature of existence, echoing the lost highways of Wim Wenders, the quiet devastation of a faded love letter, the cinematic stillness before a storm.
From the sun-drenched desolation of the California desert to the spectral glow of half-remembered motels, her work captures a world teetering between illusion and truth. A place where time lingers, where stories are suspended in soft-focus light, refusing to resolve into simple conclusions. The figures in her images—lovers, wanderers, ghosts of a golden-hour past—exist on the margins, caught in an unspoken dialogue with the viewer. We do not just see them; we recognize them.
Schneider has not merely preserved a dying medium—she has elevated it to something mythic, something wholly her own. Her work is at once contemporary and timeless, evoking the ghosts of Warhol’s silkscreens, the quiet grandeur of Edward Hopper, the melancholic resonance of a half-forgotten song playing on an old jukebox. In a world consumed by the relentless march of progress, she reminds us that beauty often lives in the flaws, in the spaces between moments, in the whispers of the past.
Some artists capture history. Stefanie Schneider captures memory itself—before it fades, before it slips through our fingers like dust illuminated by desert light. And in doing so, she has changed not just how we see photography, but how we see ourselves.
Stefanie Schneider earned her MFA in Communication Design from the renowned Folkwang Schule in Essen, Germany, an institution known for its interdisciplinary approach to art and design. Her work has been widely exhibited in prestigious museums and art institutions across Europe and beyond, underscoring her significant impact on contemporary visual culture. Notable exhibitions include the Museum für Photographie in Braunschweig, the Museum für Kommunikation in Berlin, and the Institut für Neue Medien in Frankfurt. Her cinematic and dreamlike imagery has also been featured at the Nassauischer Kunstverein in Wiesbaden, Kunstverein Bielefeld, and the Museum für Moderne Kunst in Passau. Internationally, Schneider’s work has been recognized at Les Rencontres d'Arles—one of the most esteemed photography festivals in the world— and the Foto-Triennale in Esslingen. Her artistic vision extends beyond traditional gallery spaces, as seen in her participation in the Bombay Beach Biennale in 2018, an avant-garde art festival redefining creative expression in the California desert.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2013
- Dimensions:Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652315921802
Stefanie Schneider
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018, 2019.
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View AllMemories of Love III (The Girl behind the White Picket Fence) - Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Memories of Love III (The Girl behind the White Picket Fence) - 2013
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and signatur...
Category
2010s Contemporary Figurative Paintings
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Memories of Love III (The Girl behind the White Picket Fence) - Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Memories of Love III (The Girl behind the White Picket Fence) - 2013
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and signatur...
Category
2010s Contemporary Figurative Paintings
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Memories of Love (The Girl behind the White Picket Fence) - Polaroid, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Memories of Love IV (The Girl behind the White Picket Fence) - 2013
20x20cm, Edition of 10,
digital C-Print, based on an expired Polaroid.
Certificate and Signature label.
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Her last Call (The Girl behind the White Picket Fence) - Polaroid, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
Her last Call II (The Girl behind the White Picket Fence) - 2013
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'Her last Call III' (The Girl behind the White Picket Fence) - Polaroid
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'Her last Call III' (The Girl behind the White Picket Fence) - 2008
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The Girl III (The Girl behind the White Picket Fence) - Contemporary, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
The Girl III (The Girl behind the White Picket Fence) - 2013
38x36cm,
Edition 1/10.
Analog C-Print, hand-printed by the artist on Fuji Archive Crystal Paper, matte surface,
based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 15705.01.
Not mounted.
Schneider harnesses the unpredictable chemical mutations of expired Polaroid film, where bursts of color erupt across the surface, destabilizing the photograph's traditional allegiance to reality. These vivid distortions draw her characters into ethereal, trance-like dreamscapes. Like fleeting sequences from a vintage road movie, Schneider’s images shimmer with a transitory quality, dissolving before any definitive conclusions can be drawn. Their ephemeral essence is conveyed through subtle gestures and enigmatic motives. Refusing to yield to the constraints of reality, Schneider’s work keeps alive a delicate interplay of dream, desire, fact, and fiction, blurring the boundaries between them with poetic ambiguity.
Stefanie Schneider’s work echoes the heart of American art, channeling the cinematic nostalgia of Ed Ruscha’s roadscapes, the stark sensuality of Georgia O’Keeffe’s deserts, and the haunting solitude of Edward Hopper’s paintings...
Category
2010s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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