Polaroid Photography

Miss America (Sidewinder) - 2005, 100x98cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the original Polaroid. Certificate ...

Athena and Henry (Stay), from Ryan Gosling's memory sequence - 2006 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate a...

Dream Scene on Salt Lake - 2007 from the 29 Palms, CA project 125x156cm, Edition 3/5 Analog C-Print, hand-printed by the artist, based on an original Polaroid. Artist Inventory #96...

Dreamer (Zuma Beach) - 2004 78x76cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2746. Not m...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Cabazon Dinosaurs (Drive to the Desert) - 2000 44x59cm, Edition 5/5. Analog C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #155.05. Not mount...

Little Darlings (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

The Muse (29 Palms, CA) - 2009 38x37cm, Edition of 5, Artist Proof 1/2, analog C-Print, hand-printed by the Artist, mounted on Aluminum with matte UV-Protection, based on the Pol...

This is a unique work. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also written on verso in pencil Proven...

'There is no Forever' (Till Death do us Part) - 2005 40x48cm, Edition of 10. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. ...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

Alexithymia (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...

Long Way Home (Stranger than Paradise), 1999, 3 x 38x36cm, Edition 1530, 3 Archival C-Prints, based on the 3 original Polaroids Certificate and Signature label. Artist Inventory ...

Her Eyes, the Color of the Sky (Till Death Do Us Part), - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap ...

Cristal (Till Death Do Us Part) - 2005 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

'Making out in Car' - Long Shot (Till Death do us Part) - 2005 20x20cm, sold out Edition of 10, Artist Proof 1/2. Archival C-Print print, based on the Polaroid, Certificate and Si...

Roommates (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inventory ...

Albert WATSON (*1942, Scotland) Monkey Comic Book, 1992 Chromogenic print from a polaroid positive face mounted to acrylic (Diasec) 243 x 183 cm (95 5/8 x 72 in.) Edition of 3, plus 1 AP; Ed. no. 1/3 Print only Signed by the artist Albert Watson (*1942, Scotland) is a Scottish photographer well known for his fashion, celebrity, and art photography, having shot over 200 Vogue and 40 Rolling Stone covers since the mid-1970s. His photographs are signature, classical, and bold, and in our world of manipulation, Watson prefers the enlargers and the trays; an artist who greatly enriches our perception with his unique photographic view. Photo District News named Watson one of the 20 most influential photographers of all time, along with Richard Avedon and Irving Penn, among others. The work ‘Kate Moss...

By the Pond (2014)
 - as a forest fairy is the beginning of a story that evokes the enigma and the dreamy world of childhood. 25x25cm, Edition of 7 plus 2 Artist Proofs. Giclée ...

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...

Brooklyn Bridge (Strange Love) - 2005 20x25cm, Edition of 10. Digital C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory No. 18350. Not mounted. ...

Joy (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 906...

Kali as The Queen of Earth (2020) 70x57cm, Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Baryta Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative....

Ancient Bridge Views III (Stay) - 2006 20x20cm, Edition of of 5. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2490. Not mounte...

'Treasure II' by Stefanie Schneider (Stage of Consciousness) 29 Palms, CA, - 2007 75x93cm, Edition of 5, analog C-Print printed on Fuji Archive Paper hand-printed by the artist, b...

'Moonwalk' (Stage of Consciousness) - 2007 40x40cm, Edition of 10 Archival C-Print based on the Polaroid, Certificate and signature label, artist Inventory Number 7537. Not mount...

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...

Neverland (Till Death do us Part) - 2005 38x36cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Certificate and Signature label. Artist Inventory N...

My Girl (Till Death do us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs, Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #9505...

This is a unique photographic taken by Andy Warhol of one of this flower paintings. The work is initialed by the artist on the front side of the polaroid. Provenance: Gift of the a...

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Art...

We can still get through (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 ...

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...

Once we were Warriors (Stage of Consciousness) - 2007 from the 29 Palms, CA project. 58x56cm, Edition 2/5. Analog C-Print hand-printed by the artist, based on the original Polaro...

OK Corral (Stranger than Paradise), triptych - 1999 - Edition 5/10, each 58 x 56 cm, together with gaps 58x185cm, 3 analog C-Prints, hand-printed by the artist on Fuji Crystal Ar...

Stefanie Schneider's Mini Saigon (Stranger than Paradise) - 2003 signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2023...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

Leaving Town (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 3...

As Editor-in-Chief, Diana Vreeland brought Vogue to the forefront of international fashion magazines. Richard Avedon said of Vreeland at her memorial, “Diana lived for imagination ru...

Dusting (The Girl Behind the White Picket Fence) - 2013 with Heather Megan Christie 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certif...

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...

Waiting At The Bar - Still Life Black and White Photographic Print Framed Like many of Pia Clodi’s works, this black and white photograph evokes a human presence, even when one cann...

Starlite Motel (California Badlands) - 2010 20x24cm, Edition of 10, digital C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 10978. Not mounte...

Village Motel Sunset (The Last Picture Show) 2005 58x56cm, sold out Edition of 5, Artist Proof 2/2, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, base...

Magic Mountain (Memories of Green) - 2003 58x56cm, Edition 3/10. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventory...

Athena and Henry (Stay) - starring Ryan Gosling and Elizabeth Reaser - 2006 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and...

Gasoline III (Stranger than Paradise) - 1999 Edition 10, 120x120cm, analog C-Print, hand-printed by the artist, based on a Polaroid, Not mounted, Certificate and Signature label...

'I'm frozen in my Memory of Love that once was' (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs, Archival C-Print print, based on the original Polaroid,...

Joyce Tenneson is an accomplished American photographer best known for her mystical and sensual photographs of the female form. At once haunting, enigma...

Gil at Twelve - 2019 - 40x48cm, Edition of 7, plus 2 Artist Proofs. Photograph printed on Fuji glossy paper, based on a reclaimed Fuji Instant Film Negative (not mounted). Sign...

Boy with Flowers - 2019 70x57cm, Edition 2/5. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back with Certificate. ...

Radha Leopard Dress II (29 Palms, CA) - 1999 100x100cm, Edition 52/100. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist Inventory Number...

'There is no Forever' (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9080...

Radha Shooting II (Long Way Home) - 1999 published in 'Stranger than Paradise' 128x126cm Sold out edition of 5, Artist proof 2/2, Analog C-Print, hand-printed by the artist, based...

Burning Field (Last Picture Show) - 2004 sold out Edition of 5, Artist Proof 2/2, 58x57cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Po...

Work comes with a Certificate of Provenance issued by Christie’s. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation num...

Kirsten smokes (29 Palms, CA) - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate. Artist invento...

Mountain Range (Stranger than Paradise) - 1999 Edition 2/5, 55x72cm. Analog C-Print, hand-printed by the artist, based on the original Polaroid, not mounted. Artist inventory Num...

Sweet Boy (Stranger than Paradise) - 1997 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist Inventory...

I swing to see the world upside down - 2020 - 40x33cm, Edition of 10, plus 2 Artist Proofs. Photograph printed on Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant...