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Stefanie Schneider
The Hideout (The Getaway) - The Last Picture Show - Polaroid, Contemporary

2000

$380
£287.93
€329.80
CA$538.23
A$587.33
CHF 308.06
MX$7,133.33
NOK 3,847.90
SEK 3,636.46
DKK 2,461.53

About the Item

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #910. Signature label and Certificate. Not mounted. Stefanie Schneider’s The Getaway captures the spirit of a modern-day Bonnie and Clyde, a runaway couple navigating the complexities of survival in the contemporary West. Rooted in the romantic yet dangerous allure of rebellion, the series offers a visually stunning narrative of two lovers against the world, set against expansive desert backdrops and shadowy motel interiors. These scenes are imbued with a sense of urgency, transience, and raw emotion—a testament to Schneider’s unparalleled ability to tell stories through still images. A signature hallmark of Schneider’s work, the images are created using expired Polaroid film, but this series carries an added layer of poignancy. It is not just any Polaroid film; it is the last of its kind—produced before the collapse of the original Polaroid Corporation and its chemical processes, which have since become impossible to replicate. The film’s imperfections—its hazy light leaks, yellowish hues, and unpredictably beautiful distortions—are more than aesthetic choices; they are artifacts of a medium that can no longer be recreated. Each image becomes a relic of an irreplaceable material history, paralleling the couple’s own fleeting journey through a world that feels equally fragile and transient. The getaway car, an enduring symbol of freedom and desperation, takes center stage in several frames. Schneider captures the man climbing into its driver’s seat, ready for another chapter of their escape. The chemical mutations of the film lend these moments an almost spectral quality, as though the scenes are both grounded in reality and drifting into memory. This duality invites viewers to question the authenticity of the characters’ escape and reflect on their own desire for freedom in an increasingly constrained modern landscape. Through The Getaway, Schneider does more than tell a story of two lovers on the run. She memorializes a medium—the now-extinct chemical magic of real Polaroid film—that, like the protagonists of her series, exists outside the bounds of the everyday. This work is a love letter to impermanence, to the wild and untamable West, and to the stories that linger in the spaces between survival and surrender.

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