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Stefanie SchneiderUntitled - part 8 - Beachshoot starring Radha Mitchell2005
2005
$413.41
$590.5930% Off
£310.62
£443.7430% Off
€350
€50030% Off
CA$569.27
CA$813.2430% Off
A$637.12
A$910.1730% Off
CHF 333.51
CHF 476.4430% Off
MX$7,739.84
MX$11,056.9230% Off
NOK 4,234.72
NOK 6,049.6030% Off
SEK 3,996.18
SEK 5,708.8330% Off
DKK 2,663.85
DKK 3,805.5030% Off
About the Item
Boccia VIII (Beachshoot) - 2005
30,7x30cm,
sold out Edition of 68, Artist Proof 4/5
Lambda Print, based on a Polaroid
Certificate and Signature label,
artist Inventory # 1467.
Not mounted
Beachshoot
These photographic phantasies are determined by carefully chosen constraints and the use of symbolic attributes. Telegraph poles, airplanes, vast wastelands, a train bridge or a 50s American car tell in the same manner different stories, as do lurid wigs, kids toys, a headscarf or an old super 8 camera.
Schneider’s work feeds on anecdotes and story telling, but also on her specific European perspective on America. The world of her photographs is populated by narrow-chested boys and fragile girls, who do not seem to be aware of their own youth and beauty. Their light heartedness is invaded by a menacing grown-up world, to which they oppose their juvenile lack of compromise.
And actually her work does have an autobiographical aspect to it, since the artist makes herself and her friends the focus of the camera.
Stefanie Schneider photographs her ‘mises en scene’ with a Polaroid camera, of all things. The medium that is usually understood as a means to conserve documentary immediacy is being used in its opposite sense, since places, postures, costumes and especially the eye-catching image sections are staged. This technical ‘plot device’ mirrors her method as well as her purpose: the laureate of the Folkwangschule Essen uses only expired Polaroid material. Marks, scintillation, black empty smudges and massive changes in colour add a second layer of reality to the shots and question the
validity of imagery, the symbols and the relevance of proper memories.
From these picture that look amateurish and casual raise the impression of an authenticity on which we stumble from one moment to the next. - Petra Prahl
Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distils auratically charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangley alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the poor film stock emphazises the fragility of the icon even more.
FlashART - Sabine Dorothee Lehner
(translated from German by Michael Robinson)
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2005
- Dimensions:Height: 12.09 in (30.7 cm)Width: 11.82 in (30 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:Seller: STSCH #0801stDibs: LU65238556112
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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Certificate and Signature label.
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“I never rememb...
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