Stefanie Schneider

Floaties I (Beachshoot) Contemporary, 21st Century, Polaroid, Figurative

2005

Floaties #3 (Beachshoot) - 2005 20x20cm, Edition 4/10, Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 1436. Not mounted. Beachshoot ...

Floaties (Beachshoot) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 1435. Not ...

Sunscreen I (Beachshoot) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1390 Not mounted. Stefanie...

Floaties (Beachshoot) - 2005 20x20cm, Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory # 1431. Not mounted. The Tooth of Time It is obvious that the photographer Stefanie Schneider has a background in film. All her pictures live from the dust-filled eroticism of American road movies. For Hitchhikers, the thirty-seven-year-old artist sent her protagonists into the desert. The air shimmers. Desert. A highway, massive autos, dusty kisses. One is familiar with these sorts of images from films, even if one hasn't yet seen this particular one. In any case, it seems to be older: The tooth of time has gnawed at the photos; they are discolored, strangely and incorrectly exposed, covered with white spots. False! The photographic series Hitchhikers was created this year; the photos got their patina because the photographer Stefanie Schneider only uses film which has passed its expiration date by up to five years, and which accordingly reacts to light in unpredictable ways. Where one's assumptions are correct is in the matter of the cinematic allusions: Schneider received a degree in film at the Folkwang-Hochschule in Essen and was a cutter for several years. In the USA, she was responsible for the scene photos in the feature-film debut (Everything put together) of Marc Forster (Monster's Ball, Finding Neverland) and out of tha collaboration developed her own photographic series Suburbia. Hitchhikers is similarly structured and actually consists of stills, in this case without the accompanying film: loosely staged pictures in which the protagonists have space for spontaneous improvisations. No plot, but moods which seem familiar to us. Schneider remarks that during the shooting she was thinking of Thelma and Louise. The series is marketed along with other works of Schneider by the Editions Galerie Lumas, the Galerie Caprice Horn in Berlin, and the Zurich gallery nd-projects. The Lumas branch in Munich is featuring Schneider in the exhibition Polaroid Movie through February 28, and starting on February 23 the feature film Stay runs, in which Schneider's pictures play a crucial role. And the thirty-seven-year-old artist, who lives alternately in Berlin and Los Angeles, continues to work on her filmography. At the moment she is developing along with Marc Forster a concept of transferring her typical photographic aesthetic into moving pictures...

30X26 with Mat. (20X24 inch polaroid) From The New York Times: Dennis Farber abducts children from photographic illustrations in children's books of the 30's. He paints Ku Klux Klan costumes on some toddlers at a birthday party, as if he could see their character and future by the light of the birthday candles...

Bathing establishment n°2 is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm...

ABOUT THIS PIECE: "I wanted to photograph the pools to show the beauty of the architecture, while minimising the modern elements. I love the geometry of the tiles, the lines on the bottom of the pool and the typography of the signs. Since my first Poolside exhibition in 2018, I have travelled to London, Paris, Manchester and Glasgow to add to my collection. Focusing on composition, carefully using blocks of colour to show interesting shape and proportion. The eye is drawn to the architecture, then the symmetry and reflections, and finally to the models, which feels more intimate.‘ Although my first collections were heavily inspired by my love of Wes Anderson's work, I’ve also been looking to other cinematic imagery from directors like Terrence Malick and Stanley Kubrick, while still keeping my signature style.’ We are so lucky to still have these beautiful old pools and maybe the photographs will remind people how lovely they are." - Soo Burnell...

In his beach series, Pardo is taking the viewers into a journey. A journey that goes on the line between surreal and real. His photos, straight shots that he manipulates, are sometim...