Early 2000s Color Photography
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Period: Early 2000s
Père Lachaise (Paris), analog, Contemporary, Women, Portrait
Located in Morongo Valley, CA
Père Lachaise (Paris ) - 1995
Edition of 5 plus 2 Artist Proofs.
60x50cm including white borders.
Analog C-Print, hand-printed by the artist, based on the original Polaroid,
Si...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Père Lachaise (Paris), analog, Contemporary, Women, Portrait
Located in Morongo Valley, CA
Père Lachaise (Paris ) - 1995
60x50cm including white borders,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the Polaroid,
Signature ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Angie (Suburbia) - Contemporary, Polaroid, Analog, Color, Photography, Portrait
Located in Morongo Valley, CA
Angie (Suburbia) - 2004,
20x25cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1697.
Not mounted.
The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others.
Suburbs collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life.
The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants.
Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy.
Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Jean 2 (Suburbia) - Contemporary, Polaroid, Analog, Color, Photography, Portrait
Located in Morongo Valley, CA
Jean II (Suburbia) - 2004
20x25cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1687.
Not mounted.
The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others.
Suburbs collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life.
The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants.
Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy.
Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Due Date II (Suburbia) - with Radha Mitchell - Contemporary, Polaroid
Located in Morongo Valley, CA
Due Date II (Suburbia) - 2004,
28x37cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #1666.
Not mounted.
The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others.
Suburbs collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life.
The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants.
Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy.
Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Due Date (Suburbia) - with Radha Mitchell - Contemporary, Polaroid
Located in Morongo Valley, CA
Due Date (Suburbia) - 2004,
28x37cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 1662.
Not mounted.
The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others.
Suburbs collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life.
The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants.
Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy.
Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Giants (Stranger than Paradise), triptych, analog, based on 3 Polaroids
Located in Morongo Valley, CA
Giants (Stranger than Paradise) triptych - 2005
Edition of 10 plus 2 Artist Proofs.
each 58 x 56 cm, installed with gaps 58x185cm.
3 analog C-Prints, hand-printed by the artist ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Country Girl (Back in the 80's) - Polaroid, Contemporary, Women, 21st Century
Located in Morongo Valley, CA
Country Girl (Back in the 80's) - 2016
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Certificate and signature label.
Artist Inve...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Riviera (Malibu) - vintage print
Located in Morongo Valley, CA
Riviera (Malibu), 2004
39x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper,
based on the original Polaroid.
Artist inventor...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Cyclone (Stay) - Coney Island, 21 Century, Contemporary, Icons, Landscape
Located in Morongo Valley, CA
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 ...
Category
Contemporary Early 2000s Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Renée's Dream (Days of Heaven), no 5
Located in Morongo Valley, CA
'Renée's Dream' no. 5 (Days of Heaven) - 2005
part of the 29 Palms, CA project
26 x 32cm,
Edition 4/100.
Archival C-Print based on the original Polaroid.
Certificate and signatur...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Renée's Dream (Days of Heaven), no 1
Located in Morongo Valley, CA
'Renée's Dream' no. 1 (Days of Heaven) - 2005
part of the 29 Palms, CA project
26 x 32cm,
Edition 14/100.
Archival C-Print based on the original Polaroid.
Certificate and signatu...
Category
Contemporary Early 2000s Color Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
lovely, dark and deep #41
Located in New York, NY
Edition of 5
Carolyn'Monastra's series called "lovely, dark and deep,” excerpted from Robert Frost poem, explores the natural wonders of the wilderness. Dramatic and awe-inspiring l...
Category
Contemporary Early 2000s Color Photography
Materials
C Print
The Letter (Till Death do us Part) - Contemporary, Polaroid, Women
Located in Morongo Valley, CA
The Letter (Till Death Do Us Part) - 2005
50x49cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate and Signature label.
Artist...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Letter (Till Death do us Part) - Contemporary, Polaroid, Women
Located in Morongo Valley, CA
The Letter (Till Death Do Us Part) - 2005
50x49cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate and Signature label.
Artist Inventory No. 8909.
Not mounted.
MARGARITA (OFF)
"I must go.
I can feel his breath on the trail el Diablo...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Letter (Till Death do us Part) - Contemporary, Polaroid, Women
Located in Morongo Valley, CA
The Letter (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.
Artist...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Letter (Till Death do us Part) - Contemporary, Polaroid, Women
Located in Morongo Valley, CA
The Letter (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.
Artist...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunset behind Layers (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Sunset Behind Layers (Deconstructivism) - 2020
20x24cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Artist Inventory 6199.
Signature label and ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Skywhale (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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 ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Jersey Views (Stay) - 21st Century, Contemporary, Polaroid
Located in Morongo Valley, CA
Jersey Views (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory No. 5117.
Not ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Archival Pigment, Po...
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
I don't believe what you say to me anymore - Polaroid, Contemporary
Located in Morongo Valley, CA
I don't believe what you say to me anymore (Till Death Do Us Part) - 2007
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Si...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
If you love like you say you do - Polaroid, Contemporary
Located in Morongo Valley, CA
If you love like you say you do (Till Death do us Part) - 2007
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature lab...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
A Beautiful Day - Contemporary, 21st Century, Polaroid, Figurative, Woman
Located in Morongo Valley, CA
A Beautiful Day (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.
Artist Inv...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Lalala (Till Death do us Part) including SX-70 Polaroid camera signed
Located in Morongo Valley, CA
Lalala (Till Death do us Part) - 2005
including SX-70 Polaroid camera signed
20x20cm,
Edition 2/10.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
A...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunscreen (Beachshoot) - based on the Polaroid - featuring Radha Mitchell
Located in Morongo Valley, CA
Sunscreen (Beachshoot) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 1389.
N...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Kelly II (Beachshoot) - Contemporary, 21st century, Polaroid, Portrait
Located in Morongo Valley, CA
Kelly II (Beachshoot) - 2005
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 1450.
Not...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Bloody Boy
Located in New York, NY
Signed and numbered, verso
This artwork is offered by ClampArt, located in New York City.
“The Black Eye” continues Michal Chelbin’s exploration of the world of athletes and perfor...
Category
Early 2000s Color Photography
Materials
Archival Pigment
Baby Doll (Till Death Do Us Part) - Contemporary, 21st Century, Polaroid, Women
Located in Morongo Valley, CA
Baby Doll (Till Death Do Us Part) - 2005
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
artist Inventory...
Category
Contemporary Early 2000s Color Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
Fading (Oxana's 30th Birthday) - Polaroid
Located in Morongo Valley, CA
Fading (Oxana's 30th Birthday) - 2007
from the 29 Palms, CA project
38x36cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signatu...
Category
Contemporary Early 2000s Color Photography
Materials
Plexiglass, Archival Paper, Photographic Paper, C Print, Color, Polaroid
Oxana and Hans - Stage of Consciousness, part 3, featuring Udo Kier
Located in Morongo Valley, CA
Oxana and Hans (Stage of Consciousness), part 3 - 2007
41x52cm,
Sold out Lumas Edition of 147, Artist Proof 3/3.
Lambda Print, based on the original Polaroid, mounted on Aluminum...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Miriam & Alf
By Richard Ansett
Located in New York, NY
Archival inkjet print (Edition of 100)
Numbered in pencil, recto
Also blindstamped, l.r.
11.625 x 8.25 inches, sheet
9.875 x 7 inches, image
This artwork is offered by ClampArt, lo...
Category
Contemporary Early 2000s Color Photography
Materials
Inkjet
Miguel as Runner, Antique frame included
By Kim Reierson
Located in Hudson, NY
Edition 1 of 15.
CURRENT EXHIBITION - runs through October 29th, 2017. Any framed photographs purchased during the show will be available after October 29th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production.
Shipping time depends on method of shipping.
Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.”
ABOUT
In 2008, Andrew Arrick and Michael Hofeman first came across The Robin Rice Gallery and immediately fell in love with the fine art photography becoming fans and collectors of the work.
On a visit to the gallery this past winter, Michael and Andrew had a brilliant idea to join forces with Robin to curate an exhibition in tune with the aesthetic of their vintage lifestyle boutique, FINCH hudson...
Category
Modern Early 2000s Color Photography
Materials
Digital Pigment
Jean Baptist's Dream Sequence - part 5 - (Sidewinder) - Polaroid, Contemporary
Located in Morongo Valley, CA
Jean Baptist's Dream Sequence - part 5 - (Sidewinder) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Ce...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Getting a ride from the base
By Rachel Papo
Located in New York, NY
Chromogenic print
Signed, dated, and numbered, verso
20 x 24 inches
(Edition of 9)
30 x 40 inches
(Edition of 5)
This photograph is offered by ClampArt, located in New York City.
...
Category
Contemporary Early 2000s Color Photography
Materials
C Print
The Lonely Heart's Radio Station, Wonder Valley - Polaroid, 21st Century
Located in Morongo Valley, CA
The Lonely Heart's Radio Station, Wonder Valley (The Girl behind the White Picket Fence) - 2014
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroi...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Misty Watercolor Memories (Till Death Do Us Part) -Contemporary, Polaroid, Women
Located in Morongo Valley, CA
Misty watercolor memories (Till Death do us Part) - 2005
50x58cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dreamlife of Angels (Till Death do us Part)
Located in Morongo Valley, CA
Dreamlife of Angels (Till Death Do Us Part) - 2007
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Certificate and Signature label
artist I...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dreamlife of Angels (Till Death do us Part)
Located in Morongo Valley, CA
Dreamlife of Angels (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
Artist I...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Stop Bombay Beach (California Badlands)
Located in Morongo Valley, CA
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...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
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...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columbia Thinking (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
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 Sc...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Headless (Stay) featuring Ewan McGregor
Located in Morongo Valley, CA
Headless (Stay) - 2006
featuring Ewan McGregor
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate and Signature label.
Artist Inventory #5084.
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...
Category
Contemporary Early 2000s Color Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
East River View (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
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 Schneider's art was the art both characters 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 paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
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...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Take me to Heaven - Contemporary, 21st Century, Polaroid, Women
Located in Morongo Valley, CA
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...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Spieglein, Spieglein (29 Palms, CA) - starring Udo Kier
Located in Morongo Valley, CA
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...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Daisy in Pool (Till Death do us Part) Contemporary, Woman, Polaroid
Located in Morongo Valley, CA
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...
Category
Contemporary Early 2000s Color Photography
Materials
Parchment Paper, Photographic Paper, C Print, Color, Polaroid
The Dancer V (Stay) - the movie, expired Polaroid, analog hand made
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
untitled (Sunflower)
By Frank Yamrus
Located in New York, NY
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...
Category
Contemporary Early 2000s Color Photography
Materials
C Print
At the age of eight - Contemporary, Photograph, Landscape, 21st Century, Color
Located in Morongo Valley, CA
At the age of eight - 2006,
40 × 120 cm,
Edition of 5 plus 2 Artist Proofs.
Printed on Canson Baryta Prestige.
Signed on back with Certificate.
Not mounted.
About myself
I was...
Category
Contemporary Early 2000s Color Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment
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