Archival Paper Landscape Photography
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Style: Contemporary
Artist: Stefanie Schneider
Medium: Archival Paper
Bombay Palm Trees (California Badlands) - Bombay Beach - Polaroid, Contemporary
Located in Morongo Valley, CA
Bombay Palm Trees (California Badlands) - Bombay Beach) - 2019
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Signature label and Certifica...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
A Dream Play (Strange Love) - Polaroid, New York
Located in Morongo Valley, CA
A Dream Play (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 60...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Across (Strange Love) - Polaroid, New York
Located in Morongo Valley, CA
Across (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6145.
N...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Stop Bombay Beach (California Badlands)
Located in Morongo Valley, CA
Last Stop Bombay Beach (California Badlands) - 2019
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist In...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Road to Nowhere (California Badlands) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
Road to Nowhere (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
California Depression (California Badlands) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
California Depression (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inv...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Safari Inn (California Badlands) - Contemporary, Polaroid, Landscape
Located in Morongo Valley, CA
The Safari Inn (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Salton Sea Destruction I (California Badlands)
Located in Morongo Valley, CA
Salton Sea Destruction I (California Badlands) - 2016,
40x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Arti...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, Black and White, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2194.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2197.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2196.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columbia Thinking (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ancient Bridge Views III (Stay)
Located in Morongo Valley, CA
Ancient Bridge Views III (Stay) - 2006
20x20cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2490.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Airstream trailer outside of 29 Palms - Polaroid, 21st Century, Landscape, Color
Located in Morongo Valley, CA
Airstream trailer outside of 29 Palms (Sidewinder) - 2005
50x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
A...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
April is the Cruelest Month - Contemporary, Landscape, Polaroid, Analog
Located in Morongo Valley, CA
April is the Cruelest Month (Memories of Green) / (The Getaway) - 1999
58x56cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Arch...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Summer Interlude II (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Summer Interlude II (Deconstructivism) - 2020
- about the narrative potential of images.
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Art...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Hot Tub' (Heavenly..) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Hot Tub' (Heavenly Falls) - 2016 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid si...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
C Print, Archival Paper, Polaroid, Lambda, Color
The Dancer V (Stay) - the movie, expired Polaroid, analog hand made
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Rosegarden (Suburbia), analog, mounted
Located in Morongo Valley, CA
Rosegarden (Suburbia) - 2004
Edition 1/5,
60x80cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Mounted on Aluminum with matte UV-Projection.
Artist Invent...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Planes II (Stranger than Paradise)
Located in Morongo Valley, CA
Planes II - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4653.
Not mounted.
...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunny Empire (Strange Love) - Polaroid, New York, Empire State Building
Located in Morongo Valley, CA
Sunny (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6151.
No...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Lila and Sam' (Stay) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini
'Lila and Sam' (Stay) - 2006 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized ...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Renée's Dream (Days of Heaven) - Analog, Contemporary, Women, Polaroid, mounted
Located in Morongo Valley, CA
Renée's Dream (29 Palms, CA) - 2005
32 pieces, Edition 3/5,
31 x 38 cm each, installed 276 x 164 cm including gaps.
32 analog C-Prints, hand printed by the artist,
based on 27 original Polaroids.
Artist inventory 8072.03.
Signature on back with certificate.
Mounted on Aluminum with matte UV-Protection.
Ships in a crate.
Exhibition: 29 Palms, CA, Spesshardt & Klein, 2008 (S)
Published in 'Stranger than Paradise' (Hatja Cantz), 2005
29 palms, ca
first viewing 01 / 08
29 Palms, CA is a project positioned between film and art. In this project, the German photo...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Photographic Paper, Polaroid, Color, Archival Paper, C Print
Palm Springs Palm Trees (Californication) - Polaroid
Located in Morongo Valley, CA
Palm Springs Palm Trees (Californication) - 2021
50x49cm.
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inv...
Category
1990s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Village Motel Blue' - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Village Motel Blue' (The Last Picture Show) - 2004 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polar...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Polaroid, Lambda, Color, C Print
A Vision you can't Capture # 03 (29 Palms, CA) - Polaroid, analog, mounted
Located in Morongo Valley, CA
A Vision you can't Capture #03 (29 Palms, CA) - 2007
A piece from the project: 29 Palms, CA
50x61cm,
Edition 2/5.
Analog C-Print printed on Fuji Archive Paper, hand-printed by th...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
White Tank - My own Private Travel Diary
Located in Morongo Valley, CA
White Tank (My Own Private Travel Diary), 1999
20x25cm,
sold out Edition of 10, Artist Proof 2/2.
Archival C-Print, based on the Polaroid
Certificate and S...
Category
1990s Contemporary Archival Paper Landscape Photography
Materials
Color, Archival Paper, Photographic Paper, C Print, Polaroid
Green Pool (Suburbia) - analog, photograph, 21st Century, Interior, Polaroid
Located in Morongo Valley, CA
Green Pool (Suburbia) 2004,
60x80cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface,
based on the Pol...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Jack's (Sidewinder), analog, 100x98cm
Located in Morongo Valley, CA
Jack's (Sidewinder) 2005
100x98cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Artist In...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
29 Palms Oasis (29 Palms, CA) - Polaroid, analog, vintage, Contemporary, Color
Located in Morongo Valley, CA
29 Palms Oasis (Sidewinder) - 2013
100x120cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Certificate and Sig...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Rosegarden #01 (Suburbia), analog, diptych
Located in Morongo Valley, CA
Rosegarden #01 (Suburbia), diptych - 2004
Edition 3/5,
60x80cm each, 60x170cm installed.
2 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Polaroid, Color, C Print, Photographic Paper
Green Field - Jean Baptist's Dream no. 3 - Sidewinder
Located in Morongo Valley, CA
'Green Field' Jean Baptist's Dream no. 3' (Sidewinder) - 2005,
125x154cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, printed on Fuji Chrystal Archive paper, based on the ...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Oasis' (Sidewinder) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Oasis' (Sidewinder) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized op...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century, New York
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
49x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Athena and Henry (Stay) - featuring Ryan Gosling and Elizabeth Reaser
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
Athena and Henry (Stay), from Ryan Gosling's memory sequence, - 2006,
56x55cm,
Edition 1/5.
Analog C-Print, printed by the artist on Fuji Archive Crystal Paper, matte surface, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2428.01.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Lone Pine Motel I (The Last Picture Show)
Located in Morongo Valley, CA
Lone Pine Motel I (The Last Picture Show) - 2005
60x80cm,
Edition of 5,
analog C-Print, hand-printed by the artist, based on a Polaroid,
Certificate and Signature label
artist In...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Polaroid, Color, C Print, Photographic Paper
Burning Field III (Last Picture Show) - Analog C-print, Polaroid, Contemporary
Located in Morongo Valley, CA
Burning Field (Last Picture Show) - 2004,
58x57cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaro...
Category
1990s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
On the Road (Last Picture Show) - mounted, analog, Polaroid, Contemporary, Color
Located in Morongo Valley, CA
On the Road (Last Picture Show) - 2005,
38x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper,
based on original the Polaroid.
Certifica...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Metal
Marilyn I, aka Jane Bond (Heavenly Falls) - Polaroid, 21st Century, Women
Located in Morongo Valley, CA
Marilyn aka Jane Bond - (part 1) (Heavenly Falls) - 2016
50x49cm, Edition of 10,
digital C-Print based on the Polaroid
Certificate and signature label.
Artist inventory number: 19...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Marilyn (Heavenly Falls) - triptych - mounted
Located in Morongo Valley, CA
Marilyn (Heavenly Falls) - triptych - mounted - 2016,
Edition 1/10,
38x37cm each, installed 38x120cm.
3 Lambda C-Prints, based on three original Polaroids.
Sandwiched in betwee...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Polaroid, Color, C Print, Photographic Paper, Plexiglass
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invento...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
40x48cm, Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
20x24m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invento...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Manhattan (Strange Love)
Located in Morongo Valley, CA
Manhattan (Strange Love) - 2018,
43x39.5cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on a 35mm analog Negative.
Signature label and certificate.
Artist Invent...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dodgers Stadium, Echo Park - Polaroid, Landscape, 20th Century, Contemporary
Located in Morongo Valley, CA
Dodgers Stadium, Echo Park (Stranger than Paradise) - 1999
50x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Certificate and Signature label....
Category
1990s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Playground (Oxana's 30th Birthday) - Contemporary, Landscape, Polaroid
Located in Morongo Valley, CA
Desert Playground (Oxana's 30th Birthday) - 2010
38x36cm,
Edition of 5.
Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, matte surface, based on the Pol...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Manhattan (Stay) - Contemporary, Abstract, Landscape, Polaroid, expired
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie Schneider created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc ...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Valley (Wastelands) - Polaroid, Contemporary, 21st Century, Color, Landscape
Located in Morongo Valley, CA
The Valley - this used to be my Valley - (Wastelands) - 2003
57x56cm,
Edition 3/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
based on the Polaroid,...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Metal
In between Time (Strange Love) - Polaroid, New York, Empire State, Color
Located in Morongo Valley, CA
In between Time (Strange Love) - 2005
20x20cm, Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. ...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Leaving' (Sidewinder) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'The End' (Sidewinder) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized ...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Childhood Memories (Paris), analog, Contemporary
Located in Morongo Valley, CA
Childhood Memories (Paris) - 1995
Edition of 5,
50x60cm including white borders.
Analog C-Print, hand-printed by the artist and based on the Polaroid,
Signature label and Certif...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Trickle' (29 Palms) - signed
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Trickle' (S29 Palms, CA) - 2007 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid siz...
Category
Early 2000s Contemporary Archival Paper Landscape Photography
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Crossfire (Californication) - Polaroid, Contemporary, Color
Located in Morongo Valley, CA
Crossfire (Californication) - 2019
50x50cm, sold out Lumas Edition of 150,
available Artist Proof 4/5, 5/5.
Archival C-Print, based on the Polaroid.
Certificate and Signature lab...
Category
2010s Contemporary Archival Paper Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Mindscreen 5 - mounted - Contemporary, 21st Century, Polaroid, Figurative, Color
Located in Morongo Valley, CA
Mindscreen 5 (Night on Earth) - 1999
128x126cm,
Edition of 5.
Analog C-Print, hand-printed by the artist,
based on the Polaroid.
Signed on verso with Certificate.
Artist Inventor...
Category
1990s Contemporary Archival Paper Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
I wie Ikarus (Zuma Beach) - triptych - analog vitage prints, mounted
Located in Morongo Valley, CA
I wie Ikarus (Zuma Beach) -
Edition 1/10,
43x49cm each, installed with gaps (depending on installation) 80x240cm,
3 analog C-Prints, hand-printed by the artist, based on 3 origin...
Category
1990s Contemporary Archival Paper Landscape Photography
Materials
Metal
Archival Paper landscape photography for sale on 1stDibs.
Find a wide variety of authentic Archival Paper landscape photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, green, orange and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Gerald Berghammer, Stefanie Schneider, Kirsten Thys van den Audenaerde, and David Drebin. Frequently made by artists working in the Contemporary, Abstract, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Archival Paper landscape photography, so small editions measuring 0.4 inches across are also available
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