Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 5

Stefanie Schneider
Morning (Last Picture Show) - 1999

1999

$800
£608.36
€701.72
CA$1,120.65
A$1,254.23
CHF 654.91
MX$15,301.71
NOK 8,313.16
SEK 7,888.68
DKK 5,240.11
Shipping
Retrieving quote...
The 1stDibs Promise:
Authenticity Guarantee,
Money-Back Guarantee,
24-Hour Cancellation

About the Item

Morning (Last Picture Show) - 1999 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 21181. Not mounted. Stefanie Schneider’s work is a meditation on time—its erosion, its persistence, its ability to fracture and reassemble in the mind’s eye. Like faded dreams or half-remembered encounters, her Polaroid images exist in a liminal space where past and present bleed into one another, never quite whole, never truly lost. Her process itself is an act of defying time. The expired Polaroid film she employs carries within it the chemical scars of its own history, yielding unpredictable mutations that transform each image into an artifact of imperfection. These distortions are not merely aesthetic choices but echoes of memory—relics of moments that refuse to remain static. In an era of hyper-clarity and digital perfection, Schneider’s art invites us to embrace the ephemeral, to find beauty in the decayed and the transient. The American West, a landscape steeped in myth and reinvention, becomes the perfect backdrop for this exploration of time’s paradoxes. Her subjects—wandering figures in motels, trailer parks, and endless deserts—are suspended between nostalgia and an uncertain future, much like the film she captures them on. They exist in a cinematic loop, their stories unfolding and dissolving, caught in the glow of a setting sun that never fully disappears. But there is a deeper shift at play, one that mirrors the changing nature of artistic life itself. Before 2020, artists thrived on movement, on exposure, on a constant dialogue between places and people. Travel was a necessity, a lifeline to new influences and inspirations. Yet, in the wake of global upheaval, a hyper-isolationist existence has taken hold, where the act of creation unfolds within a contained world. Schneider’s desert sanctuary reflects this new reality—an alternate universe born from necessity, a space where time stretches and bends inward, echoing the dreamlike qualities of her work. The outside world receded, but within this solitude, another form of freedom emerged: the ability to construct a world entirely of one’s own making. Memory, like Schneider’s images, is imperfect. It shifts, it fades, it distorts. Yet, in these imperfections, new narratives emerge—ones that feel more real than reality itself. This is the power of Schneider’s work: to remind us that time is not linear but layered, that the past is never truly past, and that every moment carries the weight of all that came before. Her work is not just a preservation of a vanishing medium—it is a meditation on the nature of remembrance itself. In every blurred silhouette and chemical wash of color, she captures what it means to hold onto time even as it slips through our fingers, to relive and reinterpret, over and over again, the memories we think define us. Schneider’s images are time capsules, not of fixed moments, but of the way moments feel—a testament to how time warps, erases, and ultimately reveals. They are not just photographs; they are fragments of time, unraveling like film caught in the projector’s glow, forever flickering between memory and dream. Why do you think it is important to own art? Nietzsche said 'We have art in order not to die of the truth'

More From This Seller

View All
Untitled (Last Picture Show) - 1999
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (Last Picture Show) - 2001 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 1268. Not mounted. Insta...
Category

2010s Contemporary Color Photography

Materials

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

Untitled (The Last Picture Show)
By Stefanie Schneider
Located in Morongo Valley, CA
'Untitled' (The Last Picture Show) - 2005 38x37cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist inventory 1016. Not mounted.
Category

Early 2000s Contemporary Figurative 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

Another Day in Paradise (The Last Picture Show)
By Stefanie Schneider
Located in Morongo Valley, CA
Another Day in Paradise (The Last Picture Show) - 1999, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature...
Category

Early 2000s Contemporary Nude Photography

Materials

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

Nowhere (The Getaway) - The Last Picture Show - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
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

Bates Motel III (The Last Picture Show) - Contemporary, Figurative, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Bates Motel III (The Last Picture Show) - 2005, 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the origin...
Category

2010s Contemporary Color Photography

Materials

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

You May Also Like

Untitled (Danielle)
Located in Saint Louis, MO
Angela Strassheim Untitled (Danielle), 2005 Chromogenic print Framed Dimensions: 27.375 x 30.875 x 1.5 inches (69.5325 x 78.4225 x 3.81 cm) Image Di...
Category

Early 2000s Contemporary Color Photography

Materials

C Print

Untitled, from the series 'Coexistence' – Stephen Gill, Colour, Woman, Summer
By Stephen Gill
Located in Zurich, CH
Stephen GILL (*1971, Great Britain) Untitled, from the series 'Coexistence‘, 2012 Canson Platine Fibre Rag 310 gsm Image 54.6 x 36.5 cm (21 1/2 x 14 3/8 in.) Sheet 60.9 x 45.4 cm (24...
Category

2010s Contemporary Color Photography

Materials

Archival Pigment

Untitled (Film Noir #1436)
By Bill Armstrong
Located in New York, NY
Type-C print Signed, titled, dated, and numbered, verso 24 x 20 inches (Edition of 10) 36 x 30 inches (Edition of 5) 48 x 40 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. “Film Noir...
Category

2010s Contemporary Color Photography

Materials

C Print

Seasons 1981 Photo Color Copier Print Photograph Museum Collected Art Xerography
By Leslie Schiff
Located in Surfside, FL
SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Flowers in Hand. This one is hand signed and dated verso. Seasons explores the seasons of Man, Woman, Child, Civilization, Nature and Technology. First digital artwork purchased by the Metropolitan Museum. Date: 1980-1981 Medium: vintage color photocopy print. “I worked at The Metropolitan Museum in 1981, when they acquired [Lesley’s] SEASONS portfolio. We knew we wanted it, even though we didn’t have a category for it.” David Kiehl, Curator of Prints and Special Collections The Whitney Museum of American Art, New York City. Lesley Schiff (born 1951) is an American fine artist. Schiff studied painting at the Art Institute Chicago before developing her signature practice using color laser printers to create images. Her work is included in the collections of the Whitney Museum of American Art, the Mead Art Museum and the Metropolitan Museum of Art and other major museums, corporate and private collections globally. Lesley Schiff revolutionized the photocopier from being an office tool to just another instrument in the artist's arsenal. Rather than addressing the tool in her work, Schiff instead uses the photocopier like a paintbrush to realize her vision. Once a painter, Schiff says: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct." Painting with light, Schiff's body of work outlines a cycle of life: man, woman, child, civilization, nature, technology. More recent works challenge the viewer to understand the concept of eye-levels and perspectives, reinventing the way we see. Schiff's work was the Metropolitan Museum of Art's first digital acquisition, and most recently, was featured at the Whitney Museum of American Art in "Experiments in Electrostatics". She uses a color laser printer “like a paintbrush” to create her art. She has said about her work and her tool: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct—but no matter how hi-tech my tools become, I’m a painter, but instead of painting with oils, I paint with light. The Whitney Museum will show Lesley Schiff's pioneering SEASONS portfolio in its entirety. Many prominent collections acquired SEASONS as their first digital artwork. She participated in the Punk Art show in the 1970's. Her work kind of relates to Fluxus and Dada. Leslie Schiff moved from Chicago to New York in the early 1970s. Much of her art involves collage and the Xerox photocopy machine. Her images are rooted in her personal psyche and have an intuitive meaning that is not always easily understood. In exhibitions, Xerox sheets are combined and displayed decoratively on the wall. Schiff has also created books; and made video and sound tapes. She was included in the seminal New York/New Wave 1981 exhibition show at MoMA PS1 along with Jean-Michel Basquiat, William S.Burroughs, David Byrne, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Robert Mapplethorpe, Kenny Scharf, Steven Sprouse, Andy Warhol and Lawrence Weiner. She did a “visual biography,” comprised of portraits of Bob Dylan—depicted at different ages, from his 20s to his 60s—illustrations of his lyrics, and images of iconic objects like his sunglasses and harmonica. Schiff collaborated with Matthew Carter...
Category

1980s Contemporary Color Photography

Materials

Color

A Soft Unconscious Mourning
By Meg Griffiths
Located in Sante Fe, NM
Somewhere within and without, attempts to subtly shift and deconstruct the ways in which we engage with space, time and perception in the aftermath of trauma, such as the birth of a ...
Category

2010s Contemporary Color Photography

Materials

Archival Pigment

Untitled (Unspoken #1504)
By Bill Armstrong
Located in New York, NY
Type-C print Signed, titled, dated, and numbered, verso 20 x 24 inches (Edition of 10) 30 x 36 inches (Edition of 5) 40 x 48 inches (Edition of 5) This photograph is offered by Cl...
Category

21st Century and Contemporary Contemporary Color Photography

Materials

C Print