C Print Color Photography

Delirium - 2019, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL219-656 Kirs...

Magic Hour (Musica Poetica) - 1999 Edition 3/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificat...

Brooklyn Bridge (Strange Love) - 2005 20x25cm, Edition of 10. Digital C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. 18350. Not mounted. ...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland...

'Moab Memories', 2017, Edition 2/7 plus 2 Artist Proofs Based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-...

Untitled (Paradise) - 1999, 20x20cm. 2/10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20459. Not mounted...

Pleasure Park, vintage seaside architecture typography photography from Richard Heeps' series, On-Sea. This artwork is a limited edition of 25 gloss photographic print from negative...

Atlas Shrugged 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Not mounted.

ICES Blue Curacao, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex coast...

Salton Sea Palm Tree (California Badlands) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #19400 Not ...

Brand new artwork by Richard Heeps featuring the iconic Empire State building in the mist. Photographed in New York City in 2017, he just executed this in his darkroom, printing it i...

Hotel Chelsea, New York 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 26.6 in H x 40 in W Edition of 10 + 2AP *Extra Large size available in Edition of 3 (by special order) These extraordinary photographs are part of the the Hotel Chelsea series. The Hotel Chelsea closed its doors for the first time in its iconic history of over one hundred years. American photographer Victoria Cohen...

The Shaman (The Girl behind the White Picket Fence) - 2015 80x80cm, Edition of 5, Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on a Polaroid, ...

Stéphane COUTURIER (*1957, France) E1027+ 123 – Villa Eileen Gray – Photo #8, 2021-2022 C-Print Sheet 80 x 108 cm cm (31 1/2 x 42 1/2 in.) Edition of 5 (#1/5) Framed print Born in 1...

Self-Portrait II - 2020, Part of the series shot during the second UK lockdown. Edition of 10. 20x20cm. Digital C-Print based on the Polaroid. Signed on back with Certificate. Not...

Patrick Sansone uses analog cameras and film to create photographs that reference stillness, lure, and intermission. Decaying signage, abandoned indust...

Stefanie Schneider Polaroid sized unlimited Mini 'Calliope' - 2013 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Editions ...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Pictured is Edition #1/10 and is the framed price. This image is available also in the two other paper sizes unframed. British-born photographer Heal creates an image where her ...

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 1/5 Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte UV-Pro...

Time stopped (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9303. N...

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 ...

Lonesome (Suburbia) - 2004 40x50cm, Edition of 10, Archival C-Print based on a Polaroid, Signed on verso with Certificate, Artist inventory number: 1742. Not mounted. In an ag...

Labyrinth (Haley and the Birds) - 2013 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Motorboats in Antibes' is a Limited Edition Estate Stamped Digital C-Type print by 20th Centu...

Stranger than Paradise II - Proof b4 Printing / 2005, 128x125cm analog C-Print, hand-printed by the artist, based on the Polaroid, signed on front. unmounted, untrimmed edges / raw p...

Beloved (Stage of Consciousness) - 2007 65x80cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory ...

True Colors (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 i...

Hotel Chelsea, New York. Room 1024 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archiva...

MASSIMO LISTRI Sammezano I, Italy, 2005 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framing options available) ...

Ruby (California Blue Screen) - 1999 Edition of 3/10, 44x59 cm Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Springtime (Paris) - 1995 / quadriptych - 4 pieces, 110x130cm installed. Edition of 5, each 50x60cm including white borders. 4 analog C-Prints, hand-printed by the artist and bas...

'Jimi Hendrix Palm Trees' (Stranger than Paradise) - 2016 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Certificate and Signature label, Not mounted. The Em...

Childhood 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on a Medium format Negative. Signed on back with Certificate. Not mounted.

Fabien II (The Last Picture Show) 2005 38x36cm, Edition 2/5, analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on an original Polaroid. Certificate ...

'Nomad, New York', artwork by Richard Heeps featuring a time-lapse of the iconic art deco Empire State building in the mist. Photographed in New York City in 2017, he executed this i...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

The iconic Roy's Motel sign on the famous Route 66 which is the backdrop to some of the best American road trips. Photograph by Richard Heeps as part of his...

Untitled (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certificate and Signature label artist Invent...

Jades, Norfolk, photograph from Richard Heeps On-Sea series. The series captures the essence of the Great British 'Staycation'. Richard has captured iconic signs around the world, wi...

Series: Submerged Garden C Print Limited Edition of 12 Available Sizes: 36" x 24" 45" x 30" 54" x 36" 60" x 40" 72" x 48" This photograph will be printed once payment has been re...

Pas de deux (Chicks and Chicks and sometimes Cocks) - 2017 Edition of 10, 20x20cm, Archival C-Print, based on the Polaroid Artist inventory 20056. Signature label and Certificate...

Clouds above the Moon - Planet of the Apes 04 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature labe...

'A Vision you can't Capture' (29 Palms, CA) 2007, 37.5x49.5cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Achive Paper, matte finish, based on the Po...

Half forgotten Dream (Heavenly Falls) - 2016 50x50cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 19565. No...

Last Dance (Haley and the Birds) - 2013 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x46cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Cert...

30"x40", edition of 5, available unframed, signed and editioned by the artist Amanda Alic's series "Off Season" portrays abandoned play areas, racetracks, mini-golf courses and reso...

Three framed artworks from Richard Heeps Burlesque series. Boudoir, Tease-O-Rama, Hollywood, 2003 Delilah Right Red Hand I, The Whoopee Club, London, 2004 Dirty Martini Fan Dance XX...

Copper Penny Sunday School (Sidewinder) 2005, Edition of 4/5, 125x154cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signed on back. artist Inventory No. 3...

Kaleidoscope (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 label. Arti...

Leisure and Fashion, Colony Hotel, 1961 - Palm Trees and Glamour in Palm Beach by Slim Aarons 16" x 16" print on 16" x 20" paper. Limited Edition Estate Stamped Print. Edition of 1...

Spheres (Chicks and Chicks and Sometimes Cocks) - 2019 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Art...

'Untitled' (Oilfields) 2004, 60x60cm each, installed with gaps 60x130cm, Edition 2/10, analog C-Print, hand-printed by the artist, based on the Polaroid, signed on verso, arti...

'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...

29 Palms, CA - 2010 40x40cm, Edition of of 10, plus 2 Artist Proofs. Digital C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory # 1897. Not mount...

For Your Eyes Only (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 ...

The photograph is sold unframed, only the art print. The print is a Giclée on Canson Etching Rag 310gsm paper, a museum quality fine art paper which delivers the most accurate and v...

Alaska (Stranger than Paradise) - 2002 Edition of 3/5, 105x150cm installed, 48x46 cm each. 6 Analog C-Prints, hand printed by the artist and based on the 6 Polaroids. Signature a...

'Aria and Midnight to Moonshine' (Chicks and Chicks and sometimes Cocks) Edition 8/10, 20x24cm, 2016, digital C-Print, not mounted. Based on a Polaroid, Artist inventory 19539.14 ...