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Stefanie SchneiderConey Island Beach Life (Stay) - Polaroid, 21st Century, Contemporary, Color2006
2006
$447.88
£337.34
€380
CA$617.64
A$693.89
CHF 362.56
MX$8,469.28
NOK 4,603.45
SEK 4,333.18
DKK 2,892.42
About the Item
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.
This piece:
Coney Island Beach Life (Stay) - 2006
20x20cm, Edition of 10,
Archival C-Print, based on a Polaroid.
Signature label and Certificate.
Artist Inventory # 2208.
Not mounted.
The Emotional Landscape of Stefanie Schneider: An Exposé on Her Vision
To understand Stefanie Schneider’s work is to step into a world where time is neither linear nor predictable. It is an emotional landscape, not confined to the fleeting moments we call “present,” but instead, an intersection of memory, atmosphere, and raw human vulnerability. She doesn’t just photograph people—she captures their essence, their ghosts, their fleeting whispers. The ephemeral nature of her Polaroid medium mirrors the fragility of the human condition.
Her pieces breathe life into memory itself, using the decay of film as a metaphor for time’s insidious erosion of our experiences. It’s not the pristine moments we cherish that Schneider seeks, but the moments after—the ones where the edges fray, where the light bends differently, where something unexpected emerges from the static.
In The Last Picture Show, her film project that never fully saw the light of day in the way it deserved, she made the unspoken visible, threading stories of individuals, places, and times into one tangible collection of human moments. It was a journey, a slow unfolding of the interstitial spaces between what we see and what we feel.
Stefanie Schneider’s art, then, is not about beauty for beauty’s sake—it is about the pursuit of the raw, the honest, the unsanitized version of our stories. It is an exploration of what remains when everything else is stripped away, from people to places to even our own fleeting memories. Her work doesn’t adorn the walls to impress—it penetrates, it leaves an imprint, as much on the viewer as it does on the medium itself.
The Chemical Mutation of Memory: A Personal Statement
Schneider’s work speaks to a much deeper exploration of humanity’s struggle with imperfection. In a world obsessed with perfection, Schneider finds the unpredictability of expired film, the way light spills over the chemical mutations of time, to be her most honest tool. Every image she creates is a reaction, a moment of chaos where she has placed trust in the unseen, in the process of the film’s aging. These chemical reactions mirror the very way we remember or misremember; they speak to the fractured nature of memory and the elusive quality of identity.
Her photographs take us into uncertain terrain, where color morphs, textures run wild, and light reveals fragments of meaning that we cannot easily grasp. She is not a photographer; she is a storyteller of things forgotten, things unseen. Her subjects—whether it’s a desert or a human being caught in a silent reverie—are portals into a more profound truth, a truth not easily conveyed by words, but only through the unfiltered, unapologetic lens of time itself.
In a way, Schneider’s work mirrors life’s contradictions: beauty in chaos, clarity in ambiguity, peace in disarray. It’s not the immaculate scenes we expect from a polished, modern art world; it is the imperfections that whisper the loudest, the fractures that make us feel most alive. She uses Polaroid film, once a symbol of instant gratification, but instead of preserving perfect moments, she uses it to express something much deeper: the beautiful, inexplicable mess that life truly is.
Honesty in the Frame: Embracing Vulnerability
Stefanie Schneider does not seek approval from her audience. She seeks to create authentic moments of connection that resonate with the soul. To look at one of her works is to witness a moment of unguarded truth—a fleeting moment where everything is left exposed, raw, imperfect, and human. It’s the vulnerability of being caught in the midst of life’s transitions, the uncertainty of being human, the acceptance that we can’t preserve everything—yet we try.
In every image, there is an embrace of impermanence, ephemerality, and flawed beauty. Schneider doesn’t manipulate the world to fit her vision; she meets it in its natural state, accepting its unrepeatable, fragile nature. Her work is a meditation on what time does to us all—how we decay, how we change, and how we eventually fade. But even in this fragility, there is beauty. Because in the decay, there is a truth waiting to be unearthed.
To experience Stefanie Schneider’s work is to be reminded that we cannot control time, but we can bear witness to it. She captures not what is permanent, but what remains long after the moment has passed—the aftertaste of memory, that fleeting, magical thing that dances just out of reach.
The Unseen Reality: A Love Letter to Imperfection
In a world obsessed with clarity, Schneider’s work is a call to embrace the blurry edges. It’s an invitation to feel the mess and see the beauty in the unpredictability. She doesn’t make art for fame, recognition, or status—she makes it to speak to something deeper within us all. Something raw. Something real. Something we can’t easily explain.
Stefanie Schneider’s art is not about perfection. It’s about the truth that emerges only when we let go, when we stop trying to control and just allow the moment to be—imperfect, fleeting, and beautiful.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2006
- Dimensions:Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652316305632
Stefanie Schneider
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018, 2019.
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View AllConey Island Beach Life (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island Beach Life (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Coney Island (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2266
Not mounted.
Stefanie Sch...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
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 Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2197.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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