Archival Paper Landscape Photography

Leaving (Sidewinder), triptych - 2005, Edition 2/5, 38x37cm each, (installed with gaps 38x125cm). 3 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, bas...

Palm Springs Palm Trees X (Californication) - 2019 78x76cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inv...

Mark of Esteem, ‘Silhouette’, 2001 by John Reardon This Print is part of the Hermès Collection of Contemporary Photographs since November 2023 A few mor...

Untitled (Paradise) - 1999, 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18550. No...

The Shimmer - 2022 30x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print. Signed on back with Certificate. Not mounted.

Crater (The Desert in Sepia) - 2019 Where once there was water there is no more, the Oasis is gone. 20x24cm, Edition of 7, plus 2 Artist proofs. Archival C-Print based on a Polar...

This listing is for an unframed print. Framing options are available. Virginie Drujon-Kippelen is a photographer whose work explores the visual representations of the natural world,...

From a series of conceptual motivational roadside signs in iconic California landscapes, captured with a large format camera to allow epic scale print sizes with incredible image det...

Olancha (Stranger than Paradise) - 1999, (6 pieces) 38x36cm each, 80x120cm installed with gaps, Edition of 10, plus 2 Artist Proofs, 6 archival C-Prints, based on the 6 Polaroids. ...

First of May is a limited edition photograph by Nancy C. Woodward. This is a limited edition photograph with a plexifacemount. It 24" x 24". It is filled with Blues and Green colors. It is $1,850. This is an edition of 30. It was originally photographed in 2012. Nancy C. Woodward is an award winning photographic and mixed media artist. Her shadow portraits, colorful trees and ethereal landscapes depict unique views of the natural world. Nancy photographs moments when the natural world appears changed. Through experimenting with different color palettes, papers, fibers, mediums and surfaces, she brings new realms into view. Ms. Woodward has a studio along with twenty other working artists, at Firing Circuits Artist Studios in Norwalk, Connecticut. She was an Artist in Residence at Silver Lake Conference Center in Sharon, Connecticut for ten years. She is a member of the Ridgefield Guild of Artists, The Katonah Museum Artists...

Self Portrait (Strange Love) - 2005 40x40cm, Edition of 10 plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No. 6153....

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 ...

Village Motel - Heated Pool (The Last Picture Show) - 2005 58x56cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Chrystal Archive Paper, based on the Polaroid...

Harbor Building, LA - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. artist Inventory No. 18361. No...

Field of Dreams (Sidewinder), 2005 38.5 x 38 cm, Edition 2/5, analog C-Print, hand-printed by the artist, based on an original Polaroid. Signature label and Certificate. Artis...

Max and Radha sitting on Rock (Long Way Home) - 1999 featuring Radha Mitchell 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate an...

Planes I - 2008 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory #4656. Not mounted. S...

A lonely Dog (American Depression) - 2017 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No...

Power Plant Drive By (Vegas) - 2000 Edition 4/10 44x59cm Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid Certificate and Signature label Artist Invent...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, that which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed have become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club...

'Fishing Nets No.2' Sorrento, Italy 2020 Colour landscape photography of Italian harbour. The photograph is signed front and back and comes with a Certificate of Authenticity. Ca...

These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. These are the woods in the hills of Oakland, across...

12121 Amboy Road (California Badlands) - 2010 20x24cm, Edition of 10, Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 10914. Not mount...

True Colors (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist i...

New. A nearly 30 inches (29 5/8") hand-printed version of the smaller landscape of the same name. There are just 5 editions of this largest size. All are unframed. The tree is a na...

Wonder Wheel (Strange Love) - 2010 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. 612...

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 ...

Untitled (Traintracks) - The last Picture Show - 2004, 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Ar...

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...

Two Facades. Mickey's Place was Bar / Restaurant in Chelsea opposite the old West Side Highway. In this photograph, late afternoon light illuminates the old walk-up building giving ...

Available at Madelyn Jordon Fine Art. 'The River' 2019 by Carol Bouyoucos. Archival print, Digital photomontage, Ed. of 10. Paper sizes: 26 x 42 in. / 31 x 50 in. / 40 x 64 in. This ...

Winter - everything (Wastelands) - 2003 Edition 3/5, 57x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper based on the Polaroid. Artist inventory Numb...

On an assignment from the Port Authority of New York in 1975, Photographer Mitchell Funk was given access to the roof of Tower II of the World Trade Center. From that high vantage p...

Man walking in Distance (Zuma Beach) - 1999 43x59cm, Edition of 2/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signed on back and Certificate. Artist Inve...

Dusk (Deconstructivism) - 2015 - about the narrative potential of images. 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signatur...

Past the decisive Moment - Stranger than Paradise (triptych) - 2006 3x128x125cm, 120x401cm installed. Edition of 5 Analog C-Prints, hand-printed by the artist on Crystal Fuji Archiv...

Last Season - so I walked away from my Valley (Wastelands), diptych - 2003 Edition 2/5, 57 x 56 cm each, installed 57 x 118cm. Analog C-Print, hand-printed by the artist on Fuji C...

Sidewinder, triptych - 2005 38.5 x 38 cm each, installed 38.5 x 124cm, Edition of 5, Analog C-Print, hand-printed by the artist, based on the 3 Polaroids Artist Inventory 3017.01, ...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. Stefanie Schneid...

Earthquake (Deconstructivism) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, digital C-Print, based on the Polaroid, Artist Inventory 4599 Signature l...

Wonder Backyard I - 2018, 50 x 66 cm, Edition 1 of 5. Photograph printed in Hanemühle Baryta Photo Rag 340gr, based on a Hand painted Fuji Instant Film original (not mounted). S...

All available sizes & editions for each size of this photograph: 13” x 21" Edition of 4 21” x 35" Edition of 4 32” x 53” Edition of 7 44" x 73" Edition of 10 While the spaces themse...

The Painted Ladies of Alamo Square are an icon of San Francisco. Street Photographer Mitchell Funk captures them in a quintessential beautiful way. The images is a contrast between ...

Running with Guns (Long Way Home) - 1999, 58x56cm, published in 'Stranger than Paradise', Edition 2/10 (last available Edition). analog C-Print based on the Polaroid, hand-printe...

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper 36" x 53" unframed (135cm x 91cm) 2016 Edition 3/10 *Should you wish the photograph to be ...

Untitled (Traintracks) - The last Picture Show - 2004, 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Ar...

Planes IX - 2008 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory #4634. Not mounted. Al...

large format photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the summer rites and rituals of modern leisure Meloria (20...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

Gasoline II (Stranger than Paradise) 1999 - 3 pieces, each 128x125cm, installed 125x295cm including gaps. sold out Edition of 5, Artist Proof 1/2 Analog C-Prints, hand-printed by...

Stefanie Schneider's Minis Salt'n Sea (California Badlands) - 2010 Signed and signature brand on verso. Lambda digital Color Photographs based on the Polaroid. Sandwiched in between...

Summer Interlude I (Deconstructivism) - 2020 - about the narrative potential of images. 40x40cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 5901. Signa...

Gasoline II (Stranger than Paradise) 1999 - 3 pieces, each 50x50cm, installed 50x170cm including gaps. sold out Edition of 150, Artist Proof 4/5. Archival C-Prints, based on the ...

By the Sea (Zuma Beach) - 1997 43x59cm, Edition of 3/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 119.03...

Ancient Bridge Views IV (Stay) - 2006, 20x20cm, sold out Edition of 5, Artist Proof 2/2. Archival C-Print, based on the Polaroid. Certificate and Signature label. artist Invent...

Gas station at Night I (Stranger than Paradise) - 2006 Edition 1/5, 48x46 each, 93x91cm installed with gaps. 4 analog C-Prints, hand-printed by the artist, based on the 4 Polaroid...

Radha Mind Screen (29 Palms, CA), triptych - 1999 58 x 57cm each, together with gaps 58x180cm, sold out Edition of 10, Artist Proof 1/2, analog C-Prints, hand-printed by the artis...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 20452. ...