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Stefanie Schneider
The End - Sidewinder, Artist Proof 2/2, last Edition
2005

Name: The End - Sidewinder, Artist Proof 2/2, last Edition
Brand: Stefanie Schneider
Price: 31500.95 AUD
Availability: InStock
Rating: 4.9 (35 reviews)

About the Item

The End (Sidewinder) - 2005 128x125cm, sold out Edition of 5, last Artist Proof 2/2, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Certificate and Signature label artist Inventory No. 3447.07, Mounted on Aluminum with matte UV-Protection. This piece ships in a crate. No artist has done what Stefanie Schneider has done—not in this way, not with this level of depth and vision. Her work exists at the intersection of photography, cinema, and memory, but it doesn’t neatly fit into any one category. While many photographers have explored themes of nostalgia, imperfection, or the passage of time, Schneider’s approach is singular because she doesn’t just document these themes—she manifests them, embedding them into the very chemistry of her images. Polaroid photography has often been seen as fleeting, ephemeral—an instant, a keepsake, a moment captured and then forgotten. But Schneider elevates it to something permanent, something mythic. Where others might see the unpredictability of expired film as a limitation, she has mastered it, bending time and chemistry to her will. Her images are not merely photographs; they are artifacts of a world just slightly out of reach, existing somewhere between memory and dream. Unlike traditional photographers who chase a single decisive moment, Schneider builds entire narratives—worlds suspended in faded hues and hazy sunlit landscapes. Her work has the quality of a film still, yet it refuses resolution. The story lingers, unfinished, allowing the viewer to step in and complete it. While some artists embrace nostalgia as an aesthetic, Schneider’s work goes deeper—she doesn’t just reference the past, she resurrects it, reconfigures it, and makes it feel eerily present. Her images exist outside of time, inviting us to question what was real and what was imagined. This is why no artist before her has done what she has—because it’s not just about the film, the process, or the themes. It’s about her singular ability to take something fleeting and make it eternal. Even within the Dada movement—where artists like Man Ray and Hannah Höch pushed boundaries with experimental photography and collage—there’s still no direct comparison to what Stefanie Schneider has done. Dada was rooted in chaos, absurdity, and a rejection of artistic conventions. It sought to dismantle meaning, often through fragmentation and randomness. While Schneider does embrace the unpredictable (the chemical mutations of expired Polaroid film, for example), her work is not about disorder or destruction—it’s about constructing something deeply emotional and cinematic from that unpredictability. Man Ray’s solarizations and rayographs experimented with photographic process, and there’s a parallel in Schneider’s manipulation of film chemistry. But where Man Ray often emphasized abstraction and surrealism, Schneider’s work remains grounded in narrative, memory, and the cinematic dreamscape of Americana. Höch, known for her photomontages, used photography as a means of political and social critique. Schneider’s work, while deeply introspective and layered with subtext, does not take a confrontational stance—it instead invites the viewer into a world of longing, impermanence, and beauty found in the imperfect. Dada challenged reality by breaking it apart. Schneider challenges reality by making us question whether we are remembering or dreaming. The difference is subtle but profound. So even if echoes of past movements exist, what she has created is uniquely her own—a language of time, light, and chemistry that no one else has ever spoken in quite the same way. 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 d'Arles, Foto -Triennale Esslingen, Bombay Beach Biennale 2018. COLLECTIONS DZ Bank, Frankfurt, Germany / Dreyfuss, Basel, Switzerland / Schmidt Bank, Regensburg, Germany /  Holtzbrinck Verlag, Stuttgart, Germany / Sammlung Sander, Berlin, Germany / ARTISTS for TICHY - TICHY for ARTISTS, TICHY Ocean Foundation, Zurich, Switzerland / Germanisches Nationalmuseum, Nürnberg, Germany / Polaroid Collection, USA / Collection Luc LaRochelle, Montreal, Canada / Kunstsammlung Kanton Zug, Switzerland / Bombay Beach Biennale, California / The Brooklyn Museum, NY / LACMA , Los Angeles / Sir Mark Fehrs Haukohl Collection, Texas, USA

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2005
Dimensions:
Height: 50.4 in (128 cm)Width: 49.22 in (125 cm)Depth: 0.12 in (3 mm)
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652315766402

Archival Paper, Photographic Paper, C Print, Color, Polaroid

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Stefanie Schneider
The End - Sidewinder, Artist Proof 2/2, last Edition
2005

About the Item