Road Landscape Photography

Slim Aarons Estate Print - Hotel Krone Lech Traffic passing by the Hotel Krone in Lech, Austria, 1960 Paper size 40 x 40 inches / 101 x 101 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons Printed in 2025 Limited to 150 prints only (regardless of paper size) Hand-numbered in ink on the front Blind embossed...

Peter Bialobrzeski continues his long on-going series entitled "City Diaries," this time focusing on Istanbul, Turkey. In this work, the artist seeks to reveal the unique identity of...

'Cannon Drive' 1952 Slim Aarons Limited Estate Edition 1952: Cars driving along Cannon Drive, Beverly Hills, California. Silver Gelatin Fibre Print Produced from the original negat...

Interstate 10 Overpass (Drive to the Desert) - 1999 44x59cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signe...

'Tram Turntable' 1960 Slim Aarons Limited Estate Edition A tram being manually rotated on a turntable in San Francisco, California, 1960. Produced from the original transparency C...

Digital C-print (Edition of 10) Signed, dated, and numbered, verso 30 x 35.5 inches, sheet 22 x 27 inches, image This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Joshua Lutz is an American artist working with large-format photography and video. Lutz began photographing the Meadowlands ten years ago as a a documentary study of the 32-square-miles of marshy wilderness that sits between New Jersey and New York (while ostensibly searching for the remains of Jimmy Hoffa). Over the years, however, this project evolved into a compelling artistic exploration, revealing the soul of this liminal space. Lutz was given his first solo exhibition at Gitterman Gallery during the summer of 2004. In 2008, “Meadowlands,” was published as Lutz's first book, with powerHouse Books. In essayist Robert Sullivan’s introduction to the monograph, he describes the Meadowlands as “. . .that giant swath of swamp and space that separates New Jersey from New York City, or, put another way, from New York City and the rest of the United States of America.” “The New Yorker” wrote: “Joshua Lutz takes the New Topographics...

Savannah Food Store by Alain Le Garsmeur A food store on the corner in downtown Savannah, Georgia, USA, 1983. Paper size 16 x 20 inches / 40 x 50 cm Printed in 2022 - produced fro...

Palm Beach Street Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate Edition Produced utilis...

"Scotland 0037 BW" Landscape Photography 44" x 36" Edition of 12 by Ben Cope Unframed - ships rolled in a tube Ben Cope is a Los Angeles based portrait artist with a BFA in ceram...

'Palm Beach Street' by Slim Aarons Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. How typically 'Slim style' this photograph is. Beautiful and iconic 1950's...

Slim Aarons Estate Print - Hotel Olden - Oversize People carry their skis past the Hotel Olden in Gstaad, 1961. (Photo by Slim Aarons) Chromogenic print paper size 30 x 30" inch...

Katharine Hepburn American film star Katharine Hepburn driving along the waterfront with Irene Mayer Selznick at Montego Bay, Jamaica. Slim Aa...

Prices for UNFRAMED. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will be held on Wednesday, June 27th from 6 – 8 PM, and the show will be on view until September 23rd, 2018 Rice has brought together the works of 55 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black & white, expertly hung to fit together like pieces of a puzzle. “This is my favorite exhibition even though it takes months to curate and a week to install,” says Rice. “I love the moment when a viewer is first drawn to an image. Sometimes in’s indefinable; a moment when the viewer not only shares but reconnects to an experience remembered.” Each year, the Summertime Salon matures and Rice’s annual masterpiece is revealed to showcase an exhibition stronger than the year before. Rice has a close relationship with the works of her photographers, and strategically curates the show to best exemplify the artists’ strengths, remaining cohesively linked by Rice’s aesthetic. This year’s invitational image, Hoop and Ball by Nenad Samuilo Amodaj is from a series of one hundred photographs. Rice chose three photographs from Amodaj’s series to create a triptych on the back wall of her gallery for this exhibition. The invitational image is of a standing semi-nude woman in profile wearing a hoop skirt. Her entire head rests inside of a large white plaster ball that she holds above her. He explained: “I wanted to explore the abstract architectural properties of the hoop skirt, a clothing item with curious geometric form that appears both in nature and in the world of artifice.” Before photographing the model he created numerous figure drawings that helped solidify his vision for the series. Men, black and white, Isle of Man...

Alternative sizes and media available: 16 x 16 16 x 20 16 x 24 20 x 20 20 x 30 28 x 28 28 x 35 30 x 45 40 x 40 40 x 50 40 x 60 Matte photo paper or canvas available on...

Beverly Hills Hotel 1957 Slim Aarons Limited Edition Estate Print Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957. (Photo by Slim Aarons) C ...

Slim Aarons Estate Stamped Edition Limited to 150 only Traffic passing by the Hotel Krone in Lech, Austria, 1960 (Photo by Slim Aarons). This photograph epitomises the travel style and glamour of the period's wealthy and famous, beautifully documented by Aarons. In his words, he loved to photograph 'attractive people in attractive places, doing attractive things'. A beautiful and classic Slim Aarons C Type photograph (unframed). Limited edition to 150 only numbered and stamped by The Slim Aarons Estate on verso. Supplied with certificate of authenticity. Gorgeous print measuring 40 x 40" inches / ca 101 x 101 cm’s paper size. Stamped by the Estate on right and numbered in ink on left - limited edition to 150 only. Produced utilising the original transparency held at archive source. FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. We ship regularly using Fedex Express services and shipping to all international locations. Keywords snow white skiing in Austria Hotel Krone Lech mountain top skiing in 1960 ski resort Volkswagen van...

Limited Edition Estate Stamped Print (edition size 1/150). A set of traffic lights on Park Avenue in New York City. This photograph epitomises the travel style and glamour of the p...

Toned gelatin silver print Signed, titled, dated, and numbered, recto 14 x 11 inches, sheet (Edition of 25) 20 x 16 inches, sheet (Edition of 25) 24 x 20 inches, sheet (Edition of...

Overpass (Vegas) - 2000 Edition 7/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Spheres (San Francisco) - 2023 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signed on back with Certificate. Not mounted. The City San Francisco has always been a special place to me. I am overcome with romantic notions thinking about it. Some real, some imagined. Walking down to Market street feeling my heart skip a beat To see someone who looks like you, I guess that I'm not through Dreaming of the one I love, you know what I'm dreaming of San Francisco days, San Francisco nights San Francisco Days - Chris Isaak...

Five Miles Per Hour, Rhyolite, Nevada, photograph from Richard Heeps 'Dream in Color' Series. This photograph taken at dusk captures the sunset in the valley. The area was once a go...

Directions (Bombay Beach) - 2023 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2023-17...

Road to Gunsight, photograph from Richard Heeps 'Dream in Color' Series, this is the classic American open road photograph, which is a metaphor throughout Richard's work. The early m...

Archival pigment print Signed and numbered, verso 30 x 39 inches 40 x 51.5 inches 48 x 62 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City...

My own private Travel Diary - Bishop, CA - Walking Lulu - 2001, 20x30cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Certificate and Signature label. 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...

'Beverly Hills Hotel' 1957 Limited Slim Aarons Estate Edition Beautiful 1950's cars parked outside the iconic Beverly Hills Hotel on Sunset Boulevard in California, 1957. Typica...

VR's Trailer Park (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highway was moved, killing this section of town. In some places only the signs remain. 40x40cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

Elote (Lost in Time) - 2019 Lost in Time The desert is not a lifeless dusty place. Abandoned places. Waiting…Suspended in time. 20x24cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

Drive-In (American Depression) - 2017 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 20...

My own private Travel Diary - Bishop, CA - Walking Lulu - 2001, 20x83cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. 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 darkroom. 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, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

Downtown LA, 2005, 20x24cm, Edition 2/10, digital C-Print, based on Polaroid, Signature label and Certificate, artist Inventory No. 861.01. Not mounted....

Rebecca Skinner’s “Walk This Way” is part of her "On and Off the Trail" series documenting the beautiful landscapes of New England. A well worn boardwalk flanked by green sea grass d...

VR's Trailer Park (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highway w...

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 ...

Mountain Ridge (Stranger than Paradise) - 1999 44x59cm, Edition 1/10, analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 535.01. Not mounted....

'Elves are small—only 36 inches high at most...' (Iceland) Edition 2/10, 20x20cm, 2018, printed on Velvet Watercolor, 310gsm, Bright White, Acid Free, Signature label and Certificate...

Drive-in (Bombay Beach), 2018, Edition 1/7 plus 2 Artist Proofs, based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventor...

Self Service - 2017, Edition of 7 plus 2 Artist Proofs. Archival C-print, based on an original Polaroid, not mounted. Signed on the back and with certi...

Mountain Range (Stranger than Paradise) - 1999 55x72cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid Artist inven...

Star Liter (Ghosts of Route 99) - 2021 Route 99 used to cut right through Bakersfield. The streets were filled with Motels for the weary traveler. In the 1970s the highway was move...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never remembe...

My own private Travel Diary - Bishop, CA - A quiet Town - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and C...

An open road in Amboy, California, featuring telephone poles disappearing into the mountainous distance. This classic and timeless landscape photograph is part of Richard Heeps' 'Dre...

A classic American open road photograph, but this, the authentic modest but historic Inyokern Airport Drag Strip. As a drag racing fan Richard is pleas...

Pioneer's Grave, from Richard Heeps' 'Dream in Colour' series. Keeler was part of American Mining History, on the east shore of Owens Lake, but the lake dried up serving LA, and mill...

Drive-in, 2018, Edition 1/7 plus 2 Artist Proofs, based on an original Polaroid, Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2016-428. ...

A Dream Play (Strange Love) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No. 6123....

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. “I never remembe...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Image size: 14.5" x 14.5" Sheet size: 17" x 24" "Nathan's, Coney Island NY" b...

"Standing at 16 ft tall, "Brick House" is a bronze statue made by artist Simone Leigh as an inaugural commission of the High Line Plinth (NYC) in 2019, wh...

Overpass (Vegas) - 2000 44x59cm, Edition 1/10. Analog C-Print based on a Polaroid. Signature label and Certificate. Artist inventory number: 549.01. Mounted on Aluminum with mat...

Meyerowitz first drew acclaim for his remarkable ability to capture subtlequalities of light with the 1978 publication of Cape Light, which went on to become a color photography classic, selling more than 130,000 copies. This evocative new collection of images and commentary invites readers to experience the essence of Tuscany; sunlight gilding fields of ripe wheat, darkness lowering under threatening summer skies, and townspeople riding their bicycles through the dappled streets. For those who appreciate the beauty of the Italian landscape and for lovers of photography everywhere,Tuscany is a personal and loving portrait of a truly unforgettable place.Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of today's renowned color photographers studied with him. Inspired by seeing Robert Frank at work, Meyerowitz quit his job as an art director at an advertising agency and took to the streets of New York City with a 35mm camera and black-and-white film, alongside Garry Winogrand, Tony Ray...

Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected ...

Please be aware that all prints are produced to order and lead times are between 5-10 days. Mirando al Cielo 6 is a beautiful 30cm x 30cm Digital Print on 50cm x 50cm Cotton Paper....

Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. C print 12 x 10 inches Framed Estate stamped and hand numbered edition of 150 with certificate of authenticit...

Come With Me 9 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in th...

Come With Me 7 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only as a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in the ...

Come With Me 5 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this size only from a Limited Edition of 7 + 2 Artist Proofs. Ellie has been working in th...