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Stefanie Schneider
Märchenwald (Fairytales) analog

2006

$3,500
£2,682.33
€3,082.86
CA$4,915.92
A$5,501.82
CHF 2,880.01
MX$66,837.18
NOK 36,568.78
SEK 34,508.89
DKK 23,003.58

About the Item

Untitled (Fairytales) - 2006 98x96cm, Edition 3/5. Analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the Polaroid. Certificate and signature label, artist Inventory No 1350. Not mounted. A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? What is initially most striking about Schneider's images is simply the color of her expired Polaroids but her role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels, and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider. (Barnebys UK, May 3, 2017)

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