Items Similar to Zabriskie Point - Contemporary, 21st Century, Polaroid, Portrait
Want more images or videos?
Request additional images or videos from the seller
1 of 11
Stefanie SchneiderZabriskie Point - Contemporary, 21st Century, Polaroid, Portrait2003
2003
About the Item
Zabriskie Point (Stranger than Paradise) - 6 pieces - 2003
Edition of 10 plus 2 Artist Proofs.
20x20cm each, together with gaps 45x70cm.
6 archival C-Prints, based on 6 original Polaroids.
Signed on back with Certificate.
Artist Inventory 625.
Mounted Dibond with matte UV protection.
Ready to hang.
published in STRANGER THAN PARADISE, hatje cantz verlag, Ostfilder, 2006, (monograph)
LIFE’S A DREAM
(The Personal World of Stefanie Schneider)
by Mark Gisbourne
From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke.
Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work.
However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence.
Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2003
- Dimensions:Height: 17.72 in (45 cm)Width: 27.56 in (70 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:
About the Seller
4.9
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1996
1stDibs seller since 2017
955 sales on 1stDibs
Typical response time: 2 hours
- ShippingRetrieving quote...Ships From: Morongo Valley, CA
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- Max Blue (The last Picture Show) - based on a Polaroid Original - ProofBy Stefanie SchneiderLocated in Morongo Valley, CAMax Blue (The last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, ha...Category
1990s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
- Bates Motel I (The last Picture Show) - based on a Polaroid Original - ProofBy Stefanie SchneiderLocated in Morongo Valley, CABates Motel I (Last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, h...Category
1990s Contemporary Color Photography
MaterialsPolaroid, Archival Paper, Photographic Paper, C Print, Color
- Tree at Night (The last Picture Show) - based on a Polaroid Original - ProofBy Stefanie SchneiderLocated in Morongo Valley, CATree at Night (Last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, h...Category
1990s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
- Untitled (Fairytales) - analog, Contemporary, Polaroid, ColorBy Stefanie SchneiderLocated in Morongo Valley, CAUntitled (Fairytales) - 2006 48x59cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certif...Category
Early 2000s Contemporary Color Photography
MaterialsPhotographic Paper, C Print, Color, Polaroid, Archival Paper
- Lila & Sam - Contemporary, Figurative, Polaroid, Photograph, Expired, AnalogBy Stefanie SchneiderLocated in Morongo Valley, CAA piece of art from the feature film movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Ma...Category
Early 2000s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
- Circle of Magic - A Wish - 29 Palms, CA, analog, mountedBy Stefanie SchneiderLocated in Morongo Valley, CA'A Wish' (Circle of Magic) from the 29 Palms, CA project, 2009, 37x47cm, Edition 5/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, ...Category
Early 2000s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
You May Also Like
- Terry O'Neill - Faye Dunaway at the Pool, Photography 1977, Printed AfterBy Terry O'NeillLocated in Greenwich, CTAmerican actress Dorothy Faye Dunaway was one of the hottest actresses in the 1970s playing neurotic, highly driven women with sex appeal. She worked onstage before moving to the big...Category
1970s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print
- Tyler Shields - Pill, Photography 2020, Printed AfterBy Tyler ShieldsLocated in Greenwich, CTSeries: Mouths Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 40" x 40" 60" x 60" 70" x 70" Editions of 3 + 2 Artist Proofs Tyl...Category
2010s Contemporary Color Photography
MaterialsLuster, Archival Paper, Photographic Paper, C Print
- Tyler Shields - The Girl with The Red Glove, Photography 2021, Printed AfterBy Tyler ShieldsLocated in Greenwich, CTSeries: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of ...Category
2010s Contemporary Color Photography
MaterialsDigital Pigment, Luster, Archival Pigment, Inkjet, Laser, Digital, Color...
- Tyler Shields - The Girl in The Red Car, Photography 2021, Printed AfterBy Tyler ShieldsLocated in Greenwich, CTSeries: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of ...Category
2010s Contemporary Color Photography
MaterialsLuster, Paper, Archival Ink, Archival Paper, Photographic Paper, C Print...
- Isabelle Van Zeijl - All For Love, Photography 2020, Printed AfterBy Isabelle Van ZeijlLocated in Greenwich, CTAll For Love C-print on Fuji Paper Collection: FLOWER LOVE One size: 40.5 x 40.5 Edition of 8 + 2 Artist Proofs FLOWER LOVE Roses warm you heart, they ins...Category
2010s Contemporary Color Photography
MaterialsArchival Ink, Digital Pigment, Archival Pigment, Digital, C Print, Photo...
- Isabelle Van Zeijl - Love Me Wild, Photography 2020, Printed AfterBy Isabelle Van ZeijlLocated in Greenwich, CTLove Me Wild C-print on Fuji Paper Collection: FLOWER LOVE One Size 40.5 x 30.3 Edition of 8 + 2 Artist Proofs, 9 left FLOWER LOVE Roses warm you heart, t...Category
2010s Contemporary Color Photography
MaterialsArchival Ink, Digital Pigment, Archival Pigment, Digital, C Print, Photo...
Recently Viewed
View AllMore Ways To Browse
Camping Art
Deana Lawson
Bikinis In Haiti
Vintage Original Posters High Society Movie
Vintage Ski Hat
Vintage Ski Hats
Vintage Donald Trump
Annie Cardin
Frank Schott Big Sur
Hermes Canada Site
Herzog Fred
Inferno Picture
Day Date Rolex Prix
Vintage Ski Women
Visionaire Magazine
Room Divider Palm Beach
Used Corner Computer Desk
Mont Blanc Blue