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Stefanie SchneiderThe Hideout (The Getaway) - The Last Picture Show - Polaroid, Contemporary2000
2000
$729
£553.59
€639.92
CA$1,024.54
A$1,140.82
CHF 603.29
MX$13,883.13
NOK 7,604.66
SEK 7,164.71
DKK 4,775.86
About the Item
The Hideout - The Getaway (The Last Picture Show) - 1999
50x50cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist Inventory #770.
Signature label and Certificate.
Not mounted.
Stefanie Schneider’s The Getaway is a visceral exploration of rebellion and reinvention, a series that disrupts our notions of freedom and survival in a world where the road is both a promise and a peril. At its heart, the series captures a runaway couple carving their own mythology into the modern West—a landscape as treacherous as it is transformative.
Through her signature use of expired Polaroid film, Schneider conjures a cinematic universe drenched in chaos and beauty. The chemical distortions create an atmosphere that is as unpredictable as the characters’ journey. Hazy yellows bleed into the frames like caution lights, and surreal smudges obscure the edges of reality, leaving only fleeting moments of clarity. This is not just the last Polaroid film; it’s the last word in analog photography, each image a relic of a medium that, like her characters, was forced to adapt or die.
The series dares us to confront the idea of escape—its allure, its cost, and its ultimate futility. Is freedom a destination, or is it an illusion? As the protagonists navigate a labyrinth of empty highways and desolate beaches, their bond is as fragile as the dream they’re chasing. There’s a raw intimacy in the stolen glances, the hurried footsteps, the way the light fractures around them, refusing to settle.
Schneider’s work pushes beyond nostalgia, reframing the Western landscape as a battleground for identity and resistance. Her use of expired film becomes a metaphor for impermanence: the fleeting nature of love, of dreams, of the physical world itself. Yet, within this imperfection lies resilience—a testament to the power of art to outlast its own medium and to challenge the narratives we’ve been told.
The Get Away is more than a photographic series; it’s a manifesto for the renegade spirit. It’s a call to embrace the chaos, to rewrite the rules, and to find beauty in the disarray. Schneider doesn’t just capture a story—she dares us to live it.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2000
- Dimensions:Height: 19.69 in (50 cm)Width: 19.69 in (50 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652315690802
Stefanie Schneider
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, 2019.
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View AllThe Hideout (The Getaway) - The Last Picture Show - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
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.
S...
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Nowhere (The Getaway) - The Last Picture Show - Polaroid, Contemporary
By Stefanie Schneider
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Nowhere - 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 #726.
Signa...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Hideout (The Getaway) - The Last Picture Show - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
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 #725.
S...
Category
1990s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled (The Last Picture Show) - 21st Century, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (The Last Picture Show) - 2006
49x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory number: 1020.
Signature l...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Hideout (The Getaway) - The Last Picture Show - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
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 #724.
Signature label and Certificate.
Not mounted.
Stefanie Schneider's photographs evoke scintillating moments suspended between daydreams and waking reality. Each scene, captured in the southwestern United States, radiates a surreal enchantment. The artist's role appears minimal yet pivotal, providing the decisive impulse that sets the imagery into motion. The figures in her photographs remain as elusive as the motivations behind their actions, and the narratives woven through her sequences are tantalizingly open to interpretation.
Atmospheric disturbances in Schneider's work emerge as the result of a deliberate narrative arrangement, compelling viewers to navigate between visual mementos and the gaps in memory they conjure. Yet, her artistry is no less purposeful in its engagement with medium. Despite the inherent unpredictability of expired Polaroid film, Schneider wields it with calculated intent. The photo-chemical self-developing process, altered by age and decay, transforms the initial exposure into something alien yet mesmerizing. This dysfunction is a cornerstone of MIND SCREEN, a multi-part work that explores the fragility of reality, authenticity, and comprehension.
Schneider juxtaposes this brittleness with a magical realism steeped in chimeras, crafting dreamlike sequences that resist definitive narratives. She entrusts viewers with the responsibility of piecing together presumed storylines, refusing to offer a manual for interpretation. Instead, her work draws us into a realm where the unreal reigns—shimmering scenes that evoke the mirage of a road movie, a moment of violence, or a tragic self-sacrifice.
Film genres are invoked and subverted in a single breath: Paris, Texas by Wim Wenders is reimagined through a rose-tinted lens, Thelma...
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