Stefanie Schneider

Everything changes (Suburbia) - with Radha Mitchell - Contemporary, Polaroid

2004

Due Date II (Suburbia) - 2004, 28x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1666. Not mounted. The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ] Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life. The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants. Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy. Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...

Happiness (Suburbia) - 2004 28x37cm, Edition of 10, Archival C-Print based on the Polaroid. Signature label with Certificate, Not mounted. Artist Inventory # 408. Suburbia Phot...

When we were friends (Suburbia) - 2004, 28x37cm, Edition of 10, digital C-Print based on the Polaroid. Signature label with Certificate, unmounted. The project "Suburbia" was sho...

Untitled (Suburbia), 2004, Edition of 3/3, 50x60cm, analog C-Print, hand-printed by the artist, based on a Polaroid, not mounted, signature label and Certificate, artist Inventory No...

Tracey Baran, Vintage 90s Photography, Casual Backyard Scene, Relaxing Untitled, 1998 Signed, dated, and numbered in ink, verso Chromogenic ...

Stephen Frailey Untitled (diptych), 1988 Polaroid print Overall: 20 3/4 x 41 x 1 1/2 in. Image: 19 1/2 x 19 1/2 in. (each) Edition 1/5 Provenance: Lieberman & Saul Stephen studied at the San Francisco Art Institute and received his BA from Bennington College. He has had solo exhibitions at 303...

"Pola Girls 11" Unique Polaroid Photography by Larsen Sotelo 4.2" x 3.5" inch - including white Polaroid frame 3.1" x 3,1" inch - image area Comes with A...

Emma SUMMERTON (*1970, Australia) Chelsea Hotel #3, 2003 Archival pigment print on Hahnemühle Paper 100 x 120 cm (39 3/8 x 47 1/4 in.) Edition of 5, plus 2 AP; Ed. no. 1/5 Print only...