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Stefanie Schneider
Clothesline (Oxana's 30th Birthday) - Contemporary, Portrait, Polaroid, expired

2007

About the Item

Clothesline (Oxana's 30th Birthday) - 2007 from the 29 Palms, CA Project 70x90cm, Edition of 5. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, matte surface, based on the Polaroid. Artist inventory number: 4730. Certificate and signature label. Not mounted. Photographer Stefanie Schneider splits her time between Los Angeles, where she shoots her photographs, and Berlin, where she develops and enlarges her prints. Her interests in photography are in the physical nature of film, especially the process of its deterioration and the framing mechanism of images arranged on a reel. Often using expired Polaroid instant film, she photographs individuals in trailer parks and different plane settings in Southern California. The combined marks of degraded chemicals and an apocalypse-like setting give Schneider’s photographs an evocative and unmistakable sense of style. Schneider also works on feature films, and has designed album covers for popular musicians, including Cyndi Lauper and the Red Hot Chili Peppers. Her work has been exhibited throughout Europe, including at the Braunschweig Museum für Photographie and at Les Rencontres d’Arles in France. When did you know you wanted to be an artist? It happened by chance. Right after my studies in film and photography, my initial plan was to move to Los Angeles to work in film editing. Coincidences lead me to a shop selling a box of expired Polaroid films, and without even having a camera, I bought them all. The next day I bought a camera, and went down to the beach with my sister to take some photographs. One thing led to the next, my work started to be exhibited, recognized, and sold. It all happened so fast and now, in hindsight, I think it was inevitable. Stefanie Schneider's Polaroid photography is often described as "timeless," "nostalgic," and "dreamlike." Her use of expired Polaroid film, with its unpredictable colors and textures, creates a sense of unreality in her images and creating a sense of fragmentation and ambiguity that blurs the boundaries between past and present, and it creates a sense of memory as a fluid, shifting concept. Schneider's interest in Americana motifs, particularly those associated with the 1950s and 1960s, speaks to a sense of longing for a bygone era. Her images of motels, diners, and vintage cars evoke a sense of nostalgia for a time that may never have existed in reality. At the same time, these motifs are often paired with images of decay and abandonment, which suggest a darker, more complex interpretation of the American dream. Schneider's depictions of women are also a significant aspect of her art. Her female subjects are often depicted in states of undress, but the images are not intended to be exploitative or objectifying. Rather, they are intended to explore the complexity of human relationships and emotions. Schneider's women are often depicted in moments of vulnerability, suggesting a sense of shared humanity and a challenge to traditional notions of female beauty and perfection. Overall, Schneider's Polaroid photography is a deeply evocative exploration of memory, nostalgia, and the human experience. Her art challenges viewers to question their own perceptions of reality and to consider the complex, shifting nature of time and memory.

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Flying (29 Palms) - including the book 'A Half Forgotten Dream'
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Cricket on the Nose Scene - Untitled II - 29 Palms, CA, analog, mounted
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'Untitled II' (Cricket on the Nose Scene) from the 29 Palms, CA series - 2009 56x56cm, Edition 1/5, analog C-Print, hand-printed by the artist, based on a Polaroid signed on verso,...
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Leaving III (Sidewinder) - Polaroid, 21st Century, Contemporary
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Leaving III (Sidewinder) - 2005 60x110cm, Edition of 10. Archival C-Print based on a Polaroid. Signature label and Certificate. Artist Inventory No. 3463. Not mounted. 2005 SID...
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Leaving (Sidewinder) - Polaroid, 21st Century, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Leaving II (Sidewinder) - 2005 60x110cm, Edition of 10. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3436. Not mounted. 2005 SIDEWINDER - Director / Artist / Camera / Editing - starring JD Rudometkin, Stefanie Schneider, music by JD Rudometkin private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishisized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation. (Adam Budak, Kunsthaus Graz, Oct 2005) Sidewinder There’s blood on the dress that hangs in the Airstream trailer outside 29 palms. With the pistol in her sweat palm touching at his temple. Tell me what god’s gonna do for me and you now Stevie’s saying while Brother John Baptiste looks there across to where her cat seems weak and fed. All the good that comes to me from my believing man, I wanna hear about it said to me like that. Just the way you breathed it like you did 10 minutes ago when I was wrapped so well around your head. Silence then. A baby screams his mother out in the dessert night who wakes so late. Orion is a belt John Baptiste looks at through the torn-screen trailer window. There, touching his calf are vipers crawling now across her feet between his knees in front of her he kneeling for his life and they are full of venom with their broken fangs. A gun at head, where even his breath, so short, is preaching. He’s in a wheat field. John Baptiste. Counting birds on telephone wires hung low in afternoon where his mother’s call cannot now reach him. There she stands a weeping willow with the sidewinder underneath the trailer step a drop of blood upon her ankle with the bullet through its head. A scar follows sweat palm to wrist. Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California 16 years ago but who’s counting 6 bullets for the barrel wait beside the temple. The long white shaft of tissue hemmed together gods tattoo along her ribs, hip to breast. She wants to fuck the preacher in her trailer with his bible on the alter front row Stevie asks forgiveness holy father from the car that shook her bones apart. John Baptiste asks to pray before she leads his temple head...
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