Photographic Film Color Photography

Brooklyn Bridge Sunset (Stay) - 2006 50x50cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2572. Not mounted. ...

Flying Boy (Stay) - from Ryan Gosling's memory sequence - 2006 58x56cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand printed by the artist on Fuji Archive Crystal Pape...

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 ...

Athena and Henry (Stay), from Ryan Gosling's memory sequence - 2006 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate a...

Athena and Henry (Stay) - starring Ryan Gosling and Elizabeth Reaser - 2006 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and...

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. Athena and Henry (Stay), from Ryan Gosling's memory sequence, - 2006, 56x55cm, Edition 1/5. Analog C-Print, printed by the artist on Fuji Archive Crystal Paper, matte surface, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2428.01. 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. This Piece: Sam (Stay) - starring Ewan McGregor, 2006, 49x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, matte surface, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5026. 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...

Athena and Henry (Stay), from Ryan Gosling's memory sequence - 2006 38x36cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signat...

Henry watching Athena Dance (Stay) III - with Ryan Gosling - 2006 20x20cm, Edition of 10, Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Invento...

Lila and Sam (Stay) with Ewan McGregor and Naomi Watts, 2006, 50x50cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5067. Not mounted. Stefanie Schneider's art work was used for the Marc Forster 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. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, Film...

Brooklyn Bridge Sunset (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2572. Not mounted. featuring Ryan Gosling. Stefanie Schneider's art work was used for the Marc Forster 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. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, Film...

Lila and Sam (Stay) with Ewan McGregor and Naomi Watts - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5067. Not mounted. Stefanie Schneider's art work was used for the Marc Forster 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. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, Film...

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 ...

Henry watching Athena Dance (Stay) III - with Ryan Gosling, 2006, 50x50cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5065. Not mounted. featuring Ryan Gosling. Stefanie Schneider's art work was used for the Marc Forster 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. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, Film...

Fountain Head (Stay), starring Ryan Gosling 2006 20x20cm, Edition of 10, Archival C-Print, matte surface, based on a Polaroid. Certificate and Signature label, artist Inventory...

Troubled Henry (Stay) with Ryan Gosling - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 5091. Not...

Childhood Memories (Stay) from the Ryan Gosling's memory sequence, 2006, 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, matte surface, based on the Polaroid. ...

Childhood Memories (Stay), from Ryan Gosling's memory sequence - 2006 58x56cm, Edition of 5. Analog C-Print, hand-printed by the artist on Fuji Archive Crystal Paper, matte surfa...

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 ...

'The Empire', (Strange Love), 2018, 80x50cm, Edition 1/10, digital C-Print, based on a 35mm analog Negative, signature label and certificate, artist Inventory No. 30000.01, not m...

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 ...

Sam, Interior Hospital - featuring Ewan McGregor (Stay) - 2006, 38x36cm, Edition 1/10. Analog C-Print, hand-printed by the artist on Fuji Archive Crystal Paper, based on the ori...

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 ...

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 ...

Stefanie Schneider's 'Lonely Hearts Room' lightbox - 2008, 'Margarita's Letter' Edition 2/5, 45x45cm, based on a Polaroid. Matte slide transparency in oak frame. Signed on back a...

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 ...

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 ...

Austen in front of Trailer (Till Death do Us part) - 2005 128 x 125 cm, Edition 2/5, analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label...

White Trash Beautiful I (29 Palms, CA), 1999 38x36cm, Edition of 30. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #794. Not mount...

'Austen in front of Trailer', (Till Death do Us part), 2005, 48 x 46 cm, Edition 2/5, analog C-Print, hand-printed by the artist , based on a Polaroid. Certificate and Signature labe...