Polaroid Landscape Photography
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1,773
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2,025
10
1
906
657
495
542
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269
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172
171
170
117
111
99
97
97
82
80
78
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72
7,687
8,110
7,315
6,091
5,839
1,643
217
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18
137
421
1,924
120
Medium: Polaroid
Fountain Head (Stay) - featuring Ryan Gosling - Polaroid
Located in Morongo Valley, CA
Fountain Head (Stay) - 2006
featuring Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 5250
No...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Fountain Head (Stay) - featuring Ryan Gosling - Polaroid
Located in Morongo Valley, CA
Fountain Head (Stay) - 2006
featuring Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 5248
Not...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Fountain Head (Stay) - featuring Ryan Gosling - Polaroid
Located in Morongo Valley, CA
Fountain Head (Stay) - 2006
featuring Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 5247
Not...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Sam, Interior Hospital (Stay) featuring Ewan McGregor - Polaroid
Located in Morongo Valley, CA
Sam, Interior Hospital (Stay) featuring Ewan McGregor - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Sam (Stay) featuring Ewan McGregor - Polaroid
Located in Morongo Valley, CA
Sam (Stay) featuring Ewan McGregor - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 5040b
Not mounted...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Ancient Bridge Views (Stay) - Polaroid
Located in Morongo Valley, CA
Ancient Bridge Views (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2490.
Not mounted.
St...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge - Henry's Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge - Henry's Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 250...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Driving - Henry's Memory Sequence (Stay)- Polaroid
Located in Morongo Valley, CA
Driving - Henry's Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2498
Not mo...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Ancient Bridge Views (Stay) - Polaroid
Located in Morongo Valley, CA
Ancient Bridge Views (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2494.
Not mounted.
St...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge - Henry's Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge - Henry's Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 249...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge - Henry's Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge - Henry's Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 249...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
The Kiss - Henry's Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
The Kiss - Henry's Memory Sequence (Stay) - 2006
featuring Ryan Gosling and Elizabeth Reaser
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Sig...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Henry and Athena - Henry's Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Henry and Athena - Henry's Memory Sequence (Stay) - 2006
featuring Ryan Gosling and Elizabeth Reaser
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Henry and Athena - Henry's Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Henry and Athena - Henry's Memory Sequence (Stay) - 2006
featuring Ryan Gosling and Elizabeth Reaser
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Coney Island Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Coney Island Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2292
Not mounted...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Childhood Memories (Stay) - Polaroid
Located in Morongo Valley, CA
Childhood Memories (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2296
Not mounted.
Stefan...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Childhood Memories (Stay) - Polaroid
Located in Morongo Valley, CA
Childhood Memories (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2295
Not mounted.
Stefan...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2273
Not mounted.
Stefanie ...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Childhood Memories (Stay) - Polaroid
Located in Morongo Valley, CA
Childhood Memories (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2261
Not mounted.
Stefan...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Big Boy (Stay) - Polaroid
Located in Morongo Valley, CA
Big Boy (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2266
Not mounted.
Stefanie Schneide...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Indian Summer V (The Last Picture Show)
Located in Morongo Valley, CA
Indian Summer V (The Last Picture Show) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print print, based on the Polaroid,
Certificate and Signature label
Artist...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Silence Void (Stay) - Polaroid
Located in Morongo Valley, CA
Silence Void (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2116.
Not mounted.
Stefanie...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2058.
N...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence Disco (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence Disco (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2006...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2003.
No...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Sunny Boy (Stay) - Polaroid
Located in Morongo Valley, CA
Sunny Boy (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2000.
Not mounted.
Stefanie Sc...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Pile Up (Stay) - Polaroid
Located in Morongo Valley, CA
Pile Up (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1955.
Not mounted.
Stefanie Schn...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Coffee Break (Stay) - Polaroid
Located in Morongo Valley, CA
Coffee Break (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1576.
Not mounted.
Stefanie...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 09 (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge 09 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1571.
Not mounted.
St...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
The End (Sidewinder) - based on a Polaroid
Located in Morongo Valley, CA
The End (Sidewinder) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs,
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory No. 3447.
...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Brooklyn Bridge 06 (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge 06 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1568.
Not mounted.
St...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 05 (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge 05 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1567.
Not mounted.
St...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 04 (Stay) - Polaroid
Located in Morongo Valley, CA
Brooklyn Bridge 04 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1566.
Not mounted.
St...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Xtreme (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Xtreme (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid photograph.
Artist inventory Number 909.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Time Traveller (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Time Traveller (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory N...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
North Star Trail (The Girl behind the White Picket Fence) - Polaroid, Color
Located in Morongo Valley, CA
Lone Star Trail (The Girl behind the White Picket Fence) - 2013 -
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Signature label and certificate.
Artist Inventory No. 13840.
Not mounted.
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...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Without You (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Without You (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 934.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Kiss (Sidewinder) - 21st Century, Polaroid, Landscape
Located in Morongo Valley, CA
The Kiss (Sidewinder) - 2005
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Signature label and Certificate.
Artist Inventory N...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Wonder Valley (Till Death Do Us Part) - Contemporary, Polaroid
Located in Morongo Valley, CA
Wonder Valley (Till Death Do Us Part) - 2005
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate and Signature label.
Art...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Into Eternity (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Into Eternity (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 893.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Leaving Town (Sidewinder) - based on a Polaroid
Located in Morongo Valley, CA
Leaving Town (Sidewinder) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs,
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory No. 345...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dreamscene on Salt Lake (29 Palms, CA) - Polaroid, Figurative, Landscape, Desert
Located in Morongo Valley, CA
Dreamscene on Salt Lake - 2007
from the 29 Palms, CA project
20x24cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist Inventory #968...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Valley Vista (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Valley Vista (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 864.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Rodeo Grounds (Till Death du us Part)
Located in Morongo Valley, CA
Rodeo Grounds (Till Death do us Part) - 2010
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate and Signature label.
Arti...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sudden Urge (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Sudden Urge (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 809.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Kiss (Sidewinder) - 21st Century, Polaroid, Landscape
Located in Morongo Valley, CA
The Kiss (Sidewinder) - 2005
20x24cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Signature label and Certificate.
Artist Inventory N...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Enchanted (Dream Scene on Salt Lake), triptych
Located in Morongo Valley, CA
Enchanted (Dream Scene on Salt Lake), triptych, from the 29 Palms, CA Project - 2009
Edition of 10 plus 2 Artist Proofs.
38x37cm, 38x117cm (installed).
3 Archival C-Prints, based ...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Wind Swept (Wastelands) - diptych - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Wind Swept (Wastelands) - diptych - 2003
20x20cm each,
Edition of 10 plus 2 Artist Proofs.
2 Archival C-Prints, based on the two original Polaroids.
Artist inventory Number 698. ...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Brilliant Shadow (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Brilliant Shadow (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22720.
Signature labe...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Romina's Wedding Day (29 Palms, CA)
Located in Morongo Valley, CA
Romina's Wedding Day (from the 29 Palms, CA Project) - 2009
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Signature label and Ce...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Metal
Silver Bullet (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Silver Bullet (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23475.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
It's Going to Be OK (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
It's Going to Be OK (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23890.
Signature l...
Category
Early 2000s Contemporary Polaroid 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
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Artist Inventory 3099.
Not mounted.
Stefanie Schneider lives a...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Santa Monica Pier (Stranger than Paradise) - Analog, Polaroid
Located in Morongo Valley, CA
Santa Monica Pier (Stranger than Paradise) - 1997
20x25cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 104.
Sign...
Category
1990s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Minis - Airstream (29 Palms, CA) - signed on back, mounted
Located in Morongo Valley, CA
Stefanie Schneider's Minis
'Airstream' (29 Palms, CA) - 1999
signed and signature brand on verso
Lambda digital Color Photographs based on a Polaroid
Polaroid sized open Editions 1...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Plexiglass, Archival Paper, Color, Lambda, Polaroid
Blooded (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Blooded (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22991.
Signature label and Cer...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
On The Run (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
On The Run (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23024.
Signature label and ...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Chance (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
Last Chance (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 24104.
Signature label and...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Polaroid landscape photography for sale on 1stDibs.
Find a wide variety of authentic Polaroid 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 Stefanie Schneider, Kirsten Thys van den Audenaerde, Carmen de Vos, and Pia Clodi. Frequently made by artists working in the Contemporary, Pop Art, 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 Polaroid landscape photography, so small editions measuring 0.4 inches across are also available
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