Early 2000s Color Photography

Uncertainty (Haley and the Birds) - diptych - 2013 100x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 2 original Polaroids. Certificate and Signature l...

Tear You Apart, 2009 43 x 60 in (109 x 152 cm) Archival Platine Print Edition of 7 The photographer Los Angeles–based photographer Michael Muller has circled the globe shootin...

Enchantment (Haley and the Birds) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory...

Rapture (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1...

Spellbound (Haley and the Birds) - 2013 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Planet of the Apes - 1999, Edition of 3/10, 60x60cm each, installed 60x450cm. 7 analog C-Prints, hand-printed by the artist, based on the 7 original Polaroids, not mounted. Signature label and Certificate. 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...

Pool Cleaning (Haley and the Birds) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

Jollity (Haley and the Birds) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1...

Dearest (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1...

Sanctuary (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

This work is offered by CLAMP in New York City. Signed on label, verso

Harmony (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1...

Massimo Listri Palazzo Pitti a Firenze, Sala di Venere, 2018 C print Signed and numbered edition of 5 39.5 x 47 inches (100x120 cm) Edition of 5 47.5 × 59 inches (120x150 cm) Edit...

Runaway (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1...

Sanctuary (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

Happy Days (Haley and the Birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

All alone (Haley and the birds) - 2013 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #...

New in Town (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signa...

Faded Memory (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature lab...

Marine Life (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certif...

Untitled 02 (Oxana's 30th Birthday) - 2007 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artis...

Red Roses (Oxana's 30th Birthday) - 2007 from the 29 Palms, CA project 24x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label with ...

Desert Lighthouse (Oxana's 30th Birthday) - 2007, 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. ...

Clothesline (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signa...

Happy Birthday (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature lab...

Vanishing (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label an...

Faded Memory (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label...

Cleaning-up (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - Edition of 5 plus 2 Artist Proofs, 30x40cm each, 30x180cm installed with gaps, 4 analog C-Prints, base...

A Dream Play (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label...

Tomorrow (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and...

Untitled (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on t...

Digital C-print (Edition of 11) Signed, dated, and numbered, verso This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sel...

Russian River, 1992 Edition 2/10, 29.5x37cm including white frame, 25x33cm (image area). Analog C-Print, hand-printed by the Artist, based on the original Polaroid. Certificate a...

Christin, 1992 Edition 2/10, 29.5x37cm including white frame, 25x33cm (image area). Analog C-Print, hand-printed by the Artist, based on the original Polaroid. Certificate and Si...

Esther, 1993 Edition 2/10, 29.5x37cm including white frame, 25x33cm (image area). Analog C-Print, hand-printed by the Artist, based on the original Polaroid. Artist Inventory No....

Self Portrait in Green, 1993 Edition 2/10, 29.5x37cm including white frame, 25x33cm (image area). Analog C-Print, hand-printed by the Artist, based on the original Polaroid. Certifi...

Snow Silence (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist invento...

The Mountain (Stranger than Paradise) - 2003 57x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist invento...

Illusions (Till Death Do Us Part) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist ...

Play among the Stars (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 labe...

Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. These images were taken in Matador Schools and Military Boarding Schools over the course o...

Untitled (Fairytales) - 2006, 100x98cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Cert...

Untitled (Fairytales) - 2006, 49x48cm, Edition 1/10. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist Inventory # 20424.01. Not mounted...

Untitled (Fairytales) - 2006, 48x59cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certi...

Untitled (Fairytales) - 2006 49x48cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certif...

Untitled (Fairytales) - 2006, 49x48cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certi...

Taken upon arriving in Las Vegas, photograph from Richard Heeps' 'Dream in Colour' series, this artwork captures a classic American neon Googie sign, with the famous Vegas cityscape ...

The Dance (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory...

He She Says (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...

Archival pigment print (Edition of 11) Signed, dated, and numbered, verso This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editi...

The Drawing Room (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist In...

Scepter'd Isle English Rose Photo The Tappen House, Little Compton, RI (Rhode Island). Hand signed and numbered. small edition of 15 (these are on Kodak pro...

I can't trace Time (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist ...

Any Way the Wind blows (Stage of Consciousness) - 2007 40x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Art...

Motel Desert Shores, photograph from Richard Heeps Salton Sea Series. This artwork has the a vibe of a Southern California American road trip, the colours are so seductive, the palm ...

North Shore Motel Steps, mid-century architecture photography captured by Richard Heeps as part of his Salton Sea series This artwork is a limited edition of 25, gloss photographic ...

Never Let Go (Chicks and Chicks and Sometimes Cocks) - 2007 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label....

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...

Four Corners (The Last Picture Show), triptych - 2005 Edition 1/5, 58x57cm each, 58x181cm installed. 3 Analog C-Prints, hand-printed by the artist on Archive Fuji Chrystal Paper,...

Stage Right (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...