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Stefanie SchneiderCrow Burial II (Sidewinder)2005
2005
About the Item
Crow Burial II (Sidewinder) 2005
20 x 20 cm,
Edition 4/10,
digital C-Print based on the Polaroid,
Artist Inventory 3505.04,
not mounted
Some artists document the world as it is; Stefanie Schneider exposes the fractures beneath its surface. Her work is more than just a vision—it is a haunting afterimage of what once was and what can never be again. Through the alchemy of expired Polaroid film, she captures the slow unraveling of a dream, where chemistry and time conspire to erode both memory and myth.
Schneider's images emerge like relics from a fading civilization, their colors melting, their edges dissolving—just as the ideals they depict have begun to decay. The California she portrays is not the land of promise but its aftershock, a landscape littered with the ghosts of broken dreams. Her figures, frozen in golden-hour limbo, wander through the remnants of the American Dream, their beauty tinged with the melancholy of something already lost. The film itself—fragile, unpredictable, vanishing before our eyes—mirrors the disintegration of a culture that once believed in its own immortality.
There was a time when America sold the world an image of perfection: the open road, the Hollywood starlet, the neon glow of a roadside motel promising escape. But look closer, and you see the cracks. The highways lead nowhere, the stars flicker and fade, and the neon lights buzz with the exhaustion of something long past its prime. Schneider does not create nostalgia; she exposes its ghosts, revealing not just the beauty of a dream but the ache of its collapse.
Her work is an elegy—not just for Polaroid, but for a world that once believed in its own myths. The same way her film corrodes, so too does the illusion of endless possibility, the idea that time stands still for those who refuse to wake up. And yet, in the ruin, there is poetry. In the imperfection, there is truth. In the fading light, there is still something worth remembering.
Some artists preserve history. Stefanie Schneider captures its decay—not with cynicism, but with the quiet grace of someone who understands that even as the dream collapses, its echoes will linger, soft and radiant, like dust illuminated by desert light.
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.
“It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”)
The Art of Building a World: Stefanie Schneider’s Enduring Vision
Stefanie Schneider’s career is more than a collection of images—it’s a universe unto itself. Spanning decades, her work is an immersive experience, a delicate blend of nostalgia, imperfection, and raw emotional storytelling. She embraced Polaroid film just as it was disappearing, not as a fleeting experiment, but as a defining element of her vision. Where others sought digital perfection, she found beauty in unpredictability, turning chemical mutations into a language of their own.
Recognition has followed naturally—not through compromise, but through conviction. From exhibitions across Europe and the U.S. to a special mention in Arles, her work has shaped the conversation around contemporary photography. But Stefanie’s art isn’t confined to galleries. It spills into books, into film (The Girl Behind the White Picket Fence), and even into the rhythm of her everyday life on a farm where chickens roam like living installations in a desert landscape.
Stefanie’s career is proof that true artistry is not about following trends but creating worlds. She doesn’t manipulate her Polaroids, nor does she bend her artistic principles to fit commercial molds. Instead, she cultivates a deeply personal, evolving narrative that resonates with those who see beyond the surface. Her work isn't just collected—it’s lived with, dreamed into, and remembered.
This is what it means to be an artist—not just a creator of images, but a maker of mythologies, a curator of emotion, and a weaver of imperfect, unforgettable dreams.
- 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:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:Seller: STSCH #3505.041stDibs: LU652315955932
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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Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters.
Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction.
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.
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