Items Similar to Untitled - Beachshoot

Stefanie Schneider - Boccia (Beachshoot ) with Radha Mitchell - Polaroid, Contemporary, Women, Color

Stefanie Schneider - Cherry Tree Blossoms from Till Death do us Part

Stefanie Schneider - Austen and Daisy in front of Trailer II (Till Death do us Part) - analog

Stefanie Schneider - Daisy and Austen in front of Trailer III (Till Death do us Part)

Stefanie Schneider - Daisy front of Trailer (Till Death do us Part)

Stefanie Schneider - Everything put Together (Suburbia) - Contemporary, Polaroid, Analog, Portrait

Want more images or videos?

Request additional images or videos from the seller

1 of 2

Stefanie Schneider
Untitled - Beachshoot
2005

Name: Untitled - Beachshoot
Brand: Stefanie Schneider
Price: 524.95 AUD
Availability: InStock
Rating: 4.9 (35 reviews)

About the Item

'Untitled' by Stefanie Schneider (Beachshoot) 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory Nr. 898.08, Not mounted. “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” Marc Forster Stefanie Schneider interviewed by Dutch Filmmaker Willem Baptist When did you first decide to work with Polaroids? Why do Polaroids seem to be so well tuned to our (artistic) senses, perception and minds? I started using expired Polaroid film in 1996. It has the most beautiful quality and perfectly encapsulates my vision. The colors on one hand, but then the magic moment of witnessing the image appear. Time seems to stand still, and the act of watching the image develop can be shared with the people around you. It captures a moment, which becomes the past so instantly that the decay of time is even more apparent; – it gives the image a certain sentimentality. The Polaroid moment is an original every time. An artifact. Why use a medium from the past? For me, analog has always been there in the present. For the new generation, analog is interesting because it's new to them. I understand that people growing up in a digital age will wonder about its usefulness, but it's theirs to recover if they want to. When I first started working with Polaroid, it wasn't the past. It was a partially forgotten medium, but it existed nonetheless. It is mine by choice as there is no substitute for tangible beauty. Is it imperfect? The imperfect perfection in a “wabi-sabi” kind of way. Wabi-sabi (侘寂) represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is imperfect, impermanent, and incomplete. 'If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi'. 'Wabi-sabi nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.' Is the Polaroid photograph recognizable or even sometimes cliché? Absolutely! There's something cliché about the way I'm showing the American Dream. I live it myself, trying to find perfection in an imperfect world. Reaching for the horizon. The dream is broken; the cliché tumbles. There are different ways to involve an audience. You could make movies like Harmony Korine's 'Gummo' a masterpiece in my view but which would probably estrange a large part of an audience. A certain film education is a prerequisite. Or you can start with clichés, the audience then feels safe, which lures them into the depth of your world without them even knowing it or understanding where exactly they are being led to. Appealing to emotions and the sub-conscious. Normal, Change, New Normal. You continually revisit the landscape of the American West in your work. What draws you back to this scene? Southern California represents a dream to me. The contrast of Northern Germany, where I grew up, to the endless sunshine of Los Angeles was what first attracted me. The American West is my dream of choice. Wide, open spaces give perspectives that articulate emotions and desires. Isolation feeds feelings of freedom or sometimes the pondering of your past. The High Desert of 29 Palms has very clear and vivid light, which is vital. Expired Polaroid film produces 'imperfections' that I would argue mirrors the decline of the American dream. These so called 'imperfections' illustrate the reality of that dream turning into a nightmare. The disintegration of Western society. Are you playing with the temporality of the material and the value of the moment itself? The value of the moment is paramount, for it is that moment that you're trying to transform. All material is temporary, it's relative, and time is forever. Why does analog film feel more pure and intuitive? It's tangible and bright and represents a single moment. The digital moment may stay in the box (the hard drive / camera / computer etc.) forever, never to be touched, or put into a photo album, sent in a letter, or hung on a wall. Printing makes it an accomplishment. The analog world is more selective because it's real. Film is a choice. The digital worldwide clicking destroys this moment. The generation without memories due to information overload and hard drive failures. Photo albums are a thing of the past. Why does it feel this way? That's how the human instinct works. When I was a child, every picture been taken was a special moment. Analog photographic film as well as Super-8 material were expensive treasures. My family's memories were created by choosing certain moments in time. There was an effort behind the picture. The roll of film might wait months inside the camera before it was all used. From there, the film required developing, which took more time, and finally, when the photos were picked up from the shop, the memories were visited again together as a family. Who knew then, how fleeting these times were. Shared memories was a ritual. What's your philosophy behind the art of Polaroid pictures? The 'obsolete' is anything but obsolete. Things are not always as they appear, and there are hidden messages. Our memories and our dreams are under-valued. It is there that real learning and understanding begins by opening yourself to different perspectives. Who we are and where we come from is important. A Polaroid is a testimony to our existence. But our time is fading fast. What inspired you to use stop motion cinematography? My work has always resembled movie stills. I remember the first time I brought a box of Polaroids and slid them onto Susanne Vielmetter's desk (my first gallery). Instantly, it became apparent that there was a story to tell. The stories grew. It was undeniable to me, that the emerging story was where I was destined to go. I've made four short films before my latest feature film, The Girl behind the White Picket Fence. This film is 60 minutes long with over 4000 edited Polaroids. Remember that our sub-conscious fills in blanks, the parts missing from the story between photograph stills allow a deeper and more personal experience for the viewer. That is, if you surrender yourself and trust me as the director to lead you somewhere you might not have ever been before. Why do you think it is important to own art? 'We have art in order not to die of the truth' Nietzsche

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2005
Dimensions:
Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.04 in (1 mm)
Medium:
Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
Seller: STSCH #0801stDibs: LU652312212802

More From This Seller

View All

Boccia (Beachshoot ) with Radha Mitchell - Polaroid, Contemporary, Women, Color

By Stefanie Schneider

Located in Morongo Valley, CA

Boccia (Beachshoot) - 2005 70x135cm installed, including gaps - 8 pieces, 30x30cm each, almost sold out Edition of 100 plus 3 Artist Proofs. Available 100/100, AP 1/3, AP 3/3. Arc...

Category

Early 2000s Contemporary Color Photography

Materials

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

Stefanie Schneider
Boccia (Beachshoot ) with Radha Mitchell - Polaroid, Contemporary, Women, Color, 2005

$4,000

Cherry Tree Blossoms from Till Death do us Part

By Stefanie Schneider

Located in Morongo Valley, CA

'Cherry Tree Blossoms' (Till Death do us Part), diptych, 2006, 20x20cm each, installed 20x45, Edition 5/10, digital C-Prints, based on 2 Polaroids. Certificate and Signature label,...

Category

Early 2000s Contemporary Figurative Photography

Materials

Photographic Paper, C Print, Color, Polaroid

Stefanie Schneider
Cherry Tree Blossoms from Till Death do us Part, 2006

$570

$700

21st Century and Contemporary Contemporary Figurative Photography

Materials

Photographic Film, Photographic Paper, Carbon Pigment, Polaroid

Pia Clodi
Togetherness - Large Scale Cyanotype Style Film Photographic Print Framed, 2018

$1,733 Sale Price

Price Upon Request

More Ways To Browse

Japan Green Box

Green Space Age Mirror

Vintage Curling Sport

Vintage Tobacco Press

1960 Tricycle

Andy Warhol Alba Clemente

Frank Schott Untitled

James Danziger

Jean Paul Goude

John Mullen

Stefanie Schneider
Untitled - Beachshoot
2005

About the Item