Stefanie Schneider Figurative Photograph - Max hitches into Town (29 Palms, CA), 21st Century, Polaroid, Portrait Photograp
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Stefanie Schneider
Max hitches into Town (29 Palms, CA), 21st Century, Polaroid, Portrait Photograp

2007

About

Max hitches into Town (29 Palms, CA), Edition 2/5, each 29.8x37cm, 2007 analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archival Paper, matte surface, not mounted, based on an expired Polaroid, Certificate and Signature Label. Artist inventory Number 6201.02 'private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishisized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation.' (Adam Budak, Curator for Contemporary Art at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution in Washington DC

) Stefanie Schneider: A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works. What is most striking about Schneider's images is the colour which evokes the appearance of expired Polaroid film. Her role in preserving the use of Polaroid is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider. This sense of absence runs deep through Schneider's work, the fact she even uses expired film means there is a sense of the unknown as she will not know if her subjects have been captured until she is in the dark room. Long before Valencia, Mayfair and Amaro, or any other Instagram filters, Schneider was creating this otherworldliness the image sharing network tries to create. (Barnebys UK, May 3, 2017)

Details

  • Condition
    New
  • Dimensions
    H 11.82 in. x W 14.57 in. x D 0.04 in.H 30 cm x W 37 cm x D 1 mm
  • Gallery Location
    Berlin, DE
  • Reference Number
    LU65233837951
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About the Seller

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Located in Berlin, DE
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