Polaroid Landscape Photography
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Style: Contemporary
Medium: Polaroid
Just For a Time (The last Picture Show) - Polaroid
Located in Morongo Valley, CA
Just For a Time (The last Picture Show) - 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #1035
Not moun...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
House wife's Chores I (Suburbia) - Polaroid
Located in Morongo Valley, CA
House wife's Chores I (Suburbia) - 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #1671
Not mounted.
...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Up up and away (Stranger than Paradise)
Located in Morongo Valley, CA
Up up and away - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artis...
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
Abstract I (Sidewinder) - Polaroid
Located in Morongo Valley, CA
Abstract I (Sidewinder) - 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #3804
Not mounted.
Stefanie...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Interstate Flashback (Vegas) - Polaroid
Located in Morongo Valley, CA
Interstate Flashback (Vegas) - 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #557
Not mounted.
Stefa...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
North Shore Mirage (California Badlands) - Polaroid
Located in Morongo Valley, CA
North Shore Mirage (California Badlands) - 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #18078
Not mo...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Palm Springs Palm Trees (Californication) - Polaroid
Located in Morongo Valley, CA
Palm Springs Palm Trees (Californication) - 2023
50x49cm.
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist I...
Category
1990s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Joshua's Sculpture from the series Joshua Tales, based on an Original Polaroid
Located in Morongo Valley, CA
Joshua's Sculpture (Joshua Tales) - 2015
40x40cm, Edition 1/7,
Archival Color Print on Pearl photo paper, based on the Polaroid,
Signed on the back.
Not mounted.
Whether in colo...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
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
Magic Hour (Musica Poetica)
Located in Morongo Valley, CA
Magic Hour (Musica Poetica) - 1999
Edition 3/10,
44x59cm.
Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid.
Certificat...
Category
1990s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Blue Pill to forget (Burned) - Polaroid
Located in Morongo Valley, CA
The Blue Pill to forget (Burned) - 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invent...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Henry featuring Ryan Gosling (Stay) - featuring Ryan Gosling - Polaroid
Located in Morongo Valley, CA
Henry (Stay) - 2006
featuring Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 5248
Not mounted...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Neighborhood Garden (Suburbia), analog, mounted - Contemporary, Polaroid, Color
Located in Morongo Valley, CA
Neighborhood Garden (Suburbia) - 2004
60x80cm,
Edition of 1/5.
Analog C-Print, hand-printed by the artist, based on the original Polaroid, mounted on Aluminum with matte UV-Projection.
Artist Inventory No. 405.01.
Signed on verso.
The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others.
Suburbs collectively, or the people who live in them
Suburb { a district, especially a residential one, on the edge of a city or large town }
synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]
Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life.
The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants.
Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy.
Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Metal
Untitled (The Last Picture Show) - 21st Century, Polaroid, Contempoary
Located in Morongo Valley, CA
Untitled (The Last Picture Show), 2005
38x36cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
based on the original SX-70 Polaroid.
Inventory No. 781.02.
Signature label and Certificate.
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, 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 has 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...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Frozen XII (Stranger than Paradise)
Located in Morongo Valley, CA
Frozen XII (Stranger than Paradise) - 2001
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invent...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Back Alley (Stay) - Polaroid
Located in Morongo Valley, CA
Back Alley (Stay) 2008
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 5111
Not mounted.
Stefanie Schneid...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Short Stop (The Last Picture Show) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Short Stop (The Last Picture Show) - 2000
20x20m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic 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
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
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 Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunday Afternoon (Malibu)
Located in Morongo Valley, CA
Sunday Afternoon (Malibu)n - 2004
39x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on the orignal Polaroid.
Artist i...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic 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
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
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
Memory Sequence (Stay) - Polaroid
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2314.
No...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival 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
20x20cm,
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
Pink Rose (Suburbia) - analog, mounted
Located in Morongo Valley, CA
Rosegarden (Suburbia) - 2004,
60x80cm,
Edition of 1/5.
Analog C-Print, hand-printed by the artist, based on the Polaroid, mounted on Aluminum with matte UV-Projection.
Artist I...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Metal
Hudson (Stay) - Polaroid
Located in Morongo Valley, CA
Hudson (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1575.
Not mounted.
Stefanie Schne...
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
A Vision you can't Capture # 04 (29 Palms, CA) - Polaroid, analog, mounted
Located in Morongo Valley, CA
A Vision you can't Capture #04 (29 Palms, CA) - 2007
A piece from the 29 Palms, CA project
40x50cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
A...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic 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
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
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. 2050.
No...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Hell (Stay) - Polaroid
Located in Morongo Valley, CA
Hell (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1573.
Not mounted.
Stefanie Schneid...
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
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
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
Frozen I (Stranger than Paradise)
Located in Morongo Valley, CA
Frozen I (Stranger than Paradise) - 2001
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
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
The Mountain (Stranger than Paradise) - Contemporary, Polaroid, Analog
Located in Morongo Valley, CA
The Mountain (Stranger than Paradise) - 2003
57x56cm,
Edition 4/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Artist invento...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hidden Valley (Wastelands)
Located in Morongo Valley, CA
Hidden Valley (Wastelands) - 2003
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 1992.
Signature label a...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$266 Sale Price
30% Off
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 Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Blue Day (Wastelands)
Located in Morongo Valley, CA
Blue Day (Wastelands) - 2003
38x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Artist inventory Number 837.
Signature label and c...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$595 Sale Price
30% Off
Street Spirit (Bombay Beach, CA) - Polaroid, Landscape Photography
Located in Morongo Valley, CA
Street Spirit (Bombay Beach, CA) - 2022
20x20cm.
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist Inv...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled (Fairytales) - analog
Located in Morongo Valley, CA
Untitled (Fairytales) - 2006,
49x48cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid.
Certi...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Lerici 253 - Polaroid Tree Canopy Landscape Photograph, Limited Edition of 10
By Ugne Pouwell
Located in London, GB
Lerici '25 is an original black and white Polaroid photograph captured on SX-70 film along the Ligurian coastline of Italy. The image is part of a limited edition of 20, hand-signed ...
Category
21st Century and Contemporary Contemporary Polaroid Landscape Photography
Materials
Polaroid
House up in the Mountains (Wastelands) - Contemporary, Analog, Polaroid, Color
Located in Morongo Valley, CA
House up in the Mountains (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 1235.
Signat...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Palm Trees in the Rain (Stranger than Paradise) - Polaroid, 21st Century, Color
Located in Morongo Valley, CA
Palm Trees in the Rain (Stranger than Paradise) - 2000
Edition 2/10,
44x59cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label. ...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Fall (The Last Picture Show)
Located in Morongo Valley, CA
Fall (The Last Picture Show) - 2006,
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
Artist Inv...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Lifeguard (Zuma Beach)
Located in Morongo Valley, CA
Lifeguard (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory #499.
Not mou...
Category
1990s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
$266 Sale Price
30% Off
Plane Mirage (Stranger than Paradise)
Located in Morongo Valley, CA
Plane Mirage (Stranger than Paradise) - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inven...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sky High, 21st Century, Polaroid, Landscape Photography, Contemporary
Located in Morongo Valley, CA
Sky High - 2018
Edition 1/7 plus 2 Artist Proofs,
Digital C-print, based on a Polaroid,
Not mounted. Signed on the back and with certificate. Artist inventory PL2018-424.
Kirsten...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid
Blue II (Deconstructivism) - Contemporary, Expired Polaroid
Located in Morongo Valley, CA
Blue II (Deconstructivism) - 2015
- about the narrative potential of images.
40x50cm,
Edition of 10,
digital C-Print, based on a Polaroid,
Artist Inventory 3963.
Signature label...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Père Lachaise (Paris) - analog, Contemporary, Women, Portrait
Located in Morongo Valley, CA
Père Lachaise - 1995
Edition of 5, plus 2 Artist Proofs.
60x50cm including white borders.
Analog C-Print, hand-printed by the artist and based on the original Polaroid,
Signatu...
Category
Early 2000s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Mind Storm (The Last Picture Show) - Contemporary, 21st Century, Polaroid
Located in Morongo Valley, CA
Mind Storm (The Last Picture Show) - 2000
20x20m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Cloudy Empire (Strange Love) - Polaroid, New York
Located in Morongo Valley, CA
Cloudy Empire (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. 6...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Backyard - Contemporary, Polaroid, Photograph, Landscape, 21st Century, Color
Located in Morongo Valley, CA
Backyard (2014)
40x40 cm,
Edition of 10 plus 2 Artist Proofs.
Giclée Print on Hahnemühle Fine Art Baryta, based on the Fuji Instant Film.
Signed on back with Certificate.
Not mou...
Category
2010s Contemporary Polaroid Landscape Photography
Materials
Archival Paper, C Print, Color, Archival Pigment, Polaroid
A Rainy Day (The Last Picture Show)
Located in Morongo Valley, CA
A Rainy Day (The Last Picture Show) - 2006,
20x20cm,
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
4 Corners I (Last Picture Show) Stefanie Schneider
Located in Morongo Valley, CA
"4 Corners I" (Last Picture Show) - 2005
58x57cm,
Edition of 5.
Analog C-Print, hand-printed and enlarged by the artist on Archive Fuji Chrystal Paper,
based on a Polaroid,
Not m...
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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