Stefanie Schneider Figurative Photograph - Untitled - Oilfields
Want more images?
Request additional images from the seller
1 of 5 images

Stefanie Schneider
Untitled - Oilfields

2004

About

'Untitled' by Stefanie Schneider (Oilfields) 2004, 60x60cm, Edition 4/10, Analog C-Print, based on an expired Polaroid photograph Enlarged and printed by the artists hand, Stefanie Schneider Certificate and Signature label artist Inventory Nr. 1215.03 unmounted OILFIELDS, 2004 Oilfields connotes both the notion of the frontier and the adventurous mentality of the West, and a kind of horizontal understanding of landscape that is so quintessential about the West. While it circumscribes the West's idiosyncratic historical and physical manifestations, it also stands for a concept that is slowly fading into the past as a new era emerges. Stefanie Schneider: THE GREATER THE EMPTINESS THE GRANDER THE ART – Stefan Gronert Not “Twenty-six Gasoline Stations” but “29 Palms, CA”! Forty-two years after Ed Ruscha’s legendary book, there is no gasoline station at the beginning of the book that is here at hand. Instead it is the open hearted Radha – with orange hair, pink-colored overalls and a bashful, or rather cunning, gaze that is directed downward – with which this book begins! And with her and with Max – attention: a woman –, one whose appearance is in accordance with the same styling, it comes to an end as well – after Radha has in the meantime colored her fingernails pink, again endowed with the same open heartedness and the same look which now, however, reveals in combination with her altered facial expression an “old-maidish” turning away from the viewer. This may serve as an example for a vivid and understandable transformation which flows into a large-scale representation of a cheerless settlement beneath a shining, blue sky – there a figure, lost straightaway, becomes overwhelmed. Pictures which in 1998/99 play in the harsh California sunlight or in spaces that are not exactly cozy and comfortable. “Play” is the correct word in this regard, for precisely in view of the pictures of persons, there remains more than just doubt as to whether we are looking at staged scenes or have simply happened upon the high-strung “reality” of a (wannabe) film world. Yet not all the pictures have the same character of a glaring, plastic world. Upon flipping through the pages, we also encounter unpretentious, literally “colorless” scenes in undefined interiors, or unspectacular views resembling a still life and opening out onto a nowhere land. That which connects all participants in these picture-worlds is the observation that they appear to be exhausted, lost, empty or uncertain about their existence. One is almost reminded of the empty gazes and loneliness of the protagonists in the pictures of large cities painted by Manet or Degas in the era of Early Modernism. With one exception, all the photographs which are reproduced here, which originally measure 60 by 70 cm but which here, in their present size and configuration, make productive use of the possibilities presented by the medium of the book, manifest several elements of B-movies: smoking, naked, made-up and muscular persons who are not inclined to conform entirely to the vision of Hollywood dreams. Beauty and vexation, eroticism and loneliness enter into a mixture which reveals the rift between desire and truth. From a distance, one is reminded of the “Untitled Film Stills” of Cindy Sherman, which in this regard are not nearly as drastic. Yet where as her photos from the seventies are characterized by a cool, objective mode of representation in historicizing black-and-white, the photographs of Stefanie Schneider evince a soft, sometimes seemingly pictorial visual language with a coloration ranging from the pale to the artificial-glaring. As in many other pictures of Stefanie Schneider which often present themselves to us as sequences, these photos refer back as well to the perceptual stereotypes of film. Making use of instant photography, proceeding from which significantly enlarged C-prints come into being, her pictures summon up the impression of a narration without ultimately becoming part of a plot that is readable in a linear fashion. The illusion of the narrative element, however, simply enhances the experience of a renunciation of just this aspect. For the picture titles as well – and also the title of this publication – provide no real help with the imaginary construction of a story. Nevertheless, names return which include the first name of the artist herself: hence is everything not in fact a game but rather a series of authentic and instantaneous images, or is it after all nothing other than a staging, a game – how real is life? The paucity of plot elements, which contradicts all expectation of a cinematic style, as well as the emptiness and loneliness of the persons, enters into a peculiar, sometimes seemingly surreal association with the magic of the sun-drenched expanses of the dreamlike landscape. Just as the fantasy and imagination of the viewer are stimulated, so to the same great extent does the redemption of these visual figures of love founder on a void whose glaze is created, not least of all, by the peculiar blurriness of the photographic representation. The seemingly amateur character of these pictures, which have in no way been treated with any excessive scrupulousness, leaves us with a stimulating incertitude as to their interpretation, one in which the spheres of reality, fiction or dream are scarcely capable any longer of being differentiated. Thus the gaps and the scenic openness of what is presented ultimately set in motion a self-appraisal. So what remains after “29 Palms, CA”? Perhaps that hope which deviates from the saying of Ruscha that is quoted in the title: The stronger the photography the better the reality will be! Translated by George Frederick Takis Stefanie Schneider lives and works in the California High Desert and Berlin 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 dreamscapes. 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.

Details

  • Movement & Style
  • Condition
    New
  • Condition Details
    Mint, new, perfect
  • Dimensions
    H 23.63 in. x W 23.63 in.H 60 cm x W 60 cm
  • Gallery Location
    Berlin, DE
  • Reference Number
    LU65233785171
Buyer Protection Guaranteed
Our Promise To You: If you're not happy with the way an item arrived, we'll work with you and the seller to reach an optimal resolution. Read more

Shipping, Returns & Payment

  • Shipping
    Rates vary by destination and complexity
    Shipping methods are determined by item size, type, fragility and specific characteristics.
    Shipping costs are calculated based on carrier rates, delivery distance and packing complexity.
  • Return Policy

    This item cannot be returned.

    View details
  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
    Generate an invoice that you can customize and print.

About the Seller

5 / 5
Vetted
Platinum Seller
1stdibs seller since 2017
Located in Berlin, DE
More From This Seller
Contemporary, 21st Century, Polaroid, Figurative Photograph, Woman, Schneider,
Contemporary, 21st Century, Polaroid, Figurativ...
Stefanie Schneider
Early 2000s Contemporary Landscape Photography
Photographic Paper, C Print, Color, Polaroid
'Three Girls I' (Stranger than Paradise), 2006, 20x20cm, Edition 6/10, Digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory Nr. 715.13, not m...
Angel Wing- Contemporary, Figurative, Polaroid, Expired, 21stCentury, Angel
Angel Wing- Contemporary, Figurative, Polaroid,...
Stefanie Schneider
Early 2000s Contemporary Color Photography
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Angel View (Memories of Green), Edition 2/5 , 58x56cm, 2003 analog C-Print, hand-printed and enlarged by the artist Stefanie Schneider on Fuji Crystal Archive Paper, based on a Stefa...
Womb - Contemporary, Figurative, Woman, 21st Century, Polaroid, photograph, life
Womb - Contemporary, Figurative, Woman, 21st Ce...
Stefanie Schneider
Early 2000s Contemporary Figurative Photography
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Womb #02 - 2006, 56x55cm, Edition 2/5, Analog C-Print, printed by the artist on Fuji Archive Crystal Paper in Stefanie's self designed and built analog color laboratory in Berlin,...
Reload! (Wastelands)
Reload! (Wastelands)
Stefanie Schneider
Early 2000s Contemporary Color Photography
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Reload! - I changed my mind (Wastelands), Edition 2/5 , 57x56cm, 2003 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on an expired Polaroid, Artist i...
You May Also Like
Semi Nude and Blue Knit, from the “Bright Bodies” photography series
Semi Nude and Blue Knit, from the “Bright Bodie...
Mira Loew
2010s Contemporary Figurative Photography
Photographic Paper, C Print, Polaroid
MIRA LOEW (b 1984, Vienna) Austrian born, Mira Loew began her journey as a photographer and filmmaker with audio-visual media training at the Federal Graphic Institute in Vienna, at...
Orange Knit with Clasped Hands, figurative and feminine photography, Mira Loew
Orange Knit with Clasped Hands, figurative and ...
Mira Loew
2010s Contemporary Figurative Photography
Photographic Paper, C Print, Polaroid
MIRA LOEW (b 1984, Vienna) Austrian born, Mira Loew began her journey as a photographer and filmmaker with audio-visual media training at the Federal Graphic Institute in Vienna, at...
Azul Azul, figurative and feminine photography, Mira Loew, Bright Bodies series
Azul Azul, figurative and feminine photography,...
Mira Loew
2010s Contemporary Figurative Photography
Photographic Paper, C Print, Polaroid
MIRA LOEW (b 1984, Vienna) Austrian born, Mira Loew began her journey as a photographer and filmmaker with audio-visual media training at the Federal Graphic Institute in Vienna, at...
Hands on Red, by Mira Loew, from the “Bright Bodies” photography series
Hands on Red, by Mira Loew, from the “Bright Bo...
Mira Loew
2010s Contemporary Figurative Photography
Photographic Paper, C Print, Polaroid
MIRA LOEW (b 1984, Vienna) Austrian born, Mira Loew began her journey as a photographer and filmmaker with audio-visual media training at the Federal Graphic Institute in Vienna, at...
Heart, Mind and Nervous System
Heart, Mind and Nervous System
Gianfranco Pezzot
2010s Contemporary Color Photography
Photographic Paper, C Print
Digital C-Type print on Kodak Endura photo paper Edition 6 + 2 AP * the price for each print increases as the editions sell out
Jerusalem
Jerusalem
Gianfranco Pezzot
2010s Contemporary Color Photography
Photographic Paper, C Print
Digital C-Type print Quadtych Edition 6 + 2 AP * the price for each print increases as the editions sell out
Contradictory Sensibility
Contradictory Sensibility
Gianfranco Pezzot
2010s Contemporary Color Photography
Photographic Paper, C Print
Digital C-Type print on Kodak Endura photo paper Edition 6 + 2 AP * the price for each print increases as the editions sell out
Unconscious Displacement
Unconscious Displacement
Gianfranco Pezzot
2010s Contemporary Color Photography
Photographic Paper, C Print
Digital C-Type print on Kodak Endura photo paper Edition 6 + 2 AP * the price for each print increases as the editions sell out

Why Shop on 1stdibs?

Learn More

Only Vetted, Professional Sellers

Buyer Protection Guaranteed

Fully Insured Global Deliveries