Polaroid Nude Photography

The Princess Kiss (The Princess and her Lover), 2009, Edition of 2/5, 100x98cm analog C-Print based, printed by the artist, on a Polaroid, not mounted, Signature label and Certi...

Silk - 2020 80x60cm, Edition of 5 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-961. Not mounted. Ki...

image size: 15 x 11 inches Artist Proof Photograph of Nude Woman Sitting Unique Polaroid Transfer on Rives BFK paper, unframed signed SM Beard in pencil on bottom right corner, unique print. This is one in a series of Polaroid transfers...

Untitled (Paradise) - 1999, 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18550. No...

'Angie' (Heavenly Falls) - 2016 20x20cm, Edition of 10, Archival C-Print based on the Polaroid from the making of the documentary "instant dreams". Certificate and signature labe...

Cloud Nine (Shot 2013 on SX70 Film) Edition of 10 - 20 x 20 cm Digital C-Print based on a on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works an...

Last man standing - 2019, part of the series The crazy Adventures of David C. 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back an...

Ressurection - 2018, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-print, based on the Polaroid, not mounted. Signature label and certificate. Artist inventory PL20...

Growing pains- 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-928. Not moun...

Every Day is like Sunday - 2024 - 40x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2...

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

Wheel Chair Corridor (Burned) - 1999 Edition of 10, 40x40cm Analog hand print, on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on the Polaroid. Signature labe...

Homecoming - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-935. Not mo...

Dear, 2018, Edition 1/7 plus 2 Artist Proofs, Digital C-print, Based on an original Impossible film, not mounted. Signed on the back and with certificate. Artist inventory PL2018-400...

Now I’m Here and Now I’m Gone II - 2011 from the Daisy McCrackin Record Shoot 'God Willing' 30x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original P...

Tequila - 2024 - 40x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-18. Not mounte...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. 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, that 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 have 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...

Shooting Range (Till Death do us Part) - 2005 20x20cm, Edition 8/10, Archival C-Print, based on a Polaroid, Certificate and Signature label, Artist Inventory # 9487. Not mounted...

Maya - 2018, 60x48cm, 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 PL2018-445 K...

Happy Days (Till Death do Us part) - 2005 20x20cm, sold out Edition of 10, this is Artist Proof 2/2. Archival C-Print based on the Polaroid. Certificate and signature label. Arti...

Vivienne VII (Desert Nudes) - 2016 - 20x20cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature l...

Truth or Dare - 2017 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL2017-27...

I'll be Yours - 2019, 20x20 cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Certificate and signature label Artist inventory PL2019 ...

'Prom Nights' (Till Death Do Us part) - 2005 20x20cm, sold out Edition of 10, this is Artist Proof 2/2. Archival C-Print based on the Polaroid. Certificate and signature label. a...

Narween (Saigon) - 2003 58x56cm, Edition 2/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Mounted on Aluminum with matte UV-Protection. Artist in...

Blinding - 2022 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back with certificate. Artist inventory PL2022-2049. Not mounted...

Case 47 #08, 2006 [From the series Le Fan d’O] Outtake from the series published in TicKL #01, 2007 20x20cm, Edition of 7, this is nr 2 of 7 Archival color...

Oui, mon Cul #09, 2015 [Les Foxy Femmes de Carmen De Vos] Edition of 7. Museum quality C-Print based on a Polaroid. Mounted on Dibond 4mm - 20 x 20 cm. Finished with a high-gloss e...

Whisky and Water (Sidewinder) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist Inventory 3292....

Unintended - 2021 50x40cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2021-1093. Not m...

Moments in Time (Sidewinder) - 2005 25x30cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Signature lab...

'Tinderbox' (part of the series 'A girl called N) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Signature label certifi...

"Pola Girls 10" Unique Polaroid Photography by Larsen Sotelo 4.2" x 3.5" inch - including white Polaroid frame 3.1" x 3,1" inch - image area Comes with A...

Dial Zero Edition of 10 - 20 x 20 cm Digital C-Print based on a on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare Marie B...

'You, the desert and me' (The Girl behind the White Picket Fence) 125x150cm, Edition of 5, Analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Sign...

Out of reach - 2020 60x80cm, Edition of 5 plus 2 Artist Proofs. digital C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2020-957. Not mounted. ...

Blinding - 2022 20x25cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back with certificate. Artist inventory PL2022-2045. Not mounted...

What Are We Gonna Do? (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective...

Autobiography - 2021 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1028. No...

The way we were 2019, 20x20 cm, 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 PL201...

'Venus' 2019, 20x20cm, 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 PL2019-627. Kir...

Traces - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1024. Not mounte...

Family affair - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Signed on the back and with certificate. Arti...

Born to be Wild - 2014 30x30cm, Edition 3/10. Archival color print on Pearl photo paper, based on the Polaroid. Signed on the back. Not mounted. Whether in color and black and white, van Driessche’s photos marry the atmospheric qualities of integral and instant pack films with the sensuality of his models. The effect is often painterly, intimate, delicate. The softness and vulnerability of the nude feminine form is often juxtaposed with untamed landscapes or graphic urban architecture. Other photos in the series read like fine art paintings, with luminous colors and classic compositions. Van Driessche has traveled all over the world, taking photos wherever he goes. These days, he often schedules photo shoots with models when he travels, working with both professionals and amateurs. Despite being a perfectionist in his photography, van Driessche likes the unpredictable nature of expired film. He embraces its inherent perfections. He says it is thrilling when an instant photo develops before your eyes, and it happens to be exactly what you were hoping for. And equally frustrating when, for whatever reason, the photo just doesn’t work. He says that you have to be very sure of everything, the composition, the lighting, the poses, before pushing the button. Instant photography requires more thought and more patience than other forms of photography, but the rewards are worth the effort. His work has been widely featured, having appeared in Dreck Magazine, Tata Magazine, 100 Volume 1, Latent Magazine, Hylas Magazine, and Fine Art Photo Magazine. He has been interviewed by the on-line magazines Whataroll and Kaltblut and he recently participated in a group exhibition at the Brick Lane Gallery in London in March 2017. Van Driessche cites these photographers as his influences: Anton Corbjin, for his square format and black and white images; Helmut Newton for his nudes; Stephanie Schneider...

So Still (Sidewinder) - 2005 - 78x80cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist Inventory ...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 20452. ...

A set of 3 Polaroids by Uwe Ommer Archival Pigment Print Frame size: 8.5 H x 12.5 W x 1 D in. Each Polaroid: 4 H x 3 W in. 1/1 Ex. Wood frame Black and white Photography Do it yourself Series In this series the artist wanted his models to stand on their own for once. Uwe Ommer put a trigger in the girls' hands. This series was produced for 7 years and resulted in a book of the same name. _______________________________ Uwe Ommer (born 1943 in Bergisch Gladbach is a German photographer...

Tales of Bitter Doom - 9 digital Prints, based on 9 Polaroids mounted on Dibond - gloss coating, 30x30cm each, installed 100x100cm, Edition 1/7, 2008. Hand signed & numbered on the back by artist This piece will be exhibited at the Bombay Beach Biennale in the newly founded Polaroid Museum in it's permanent collection. The Museum opens its doors in March 23rd, 2019. In Bombay Beach she presents a selection of nine scenes from the kinky Tales of Bitter Doom, a photo story about domination and submission, a tale about a wizard, as a Deus ex Machina...

Building Blocks (2019) 19x29 cm, 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 PL2...

Grip - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-839. Not mounted. ...

'Baby you can drive my Car' (Bombay Beach) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Signed on the back and with ce...

Back up - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label and certificate. Artist inventory PL2020-965. Not mou...

Carried away - 2020 20x25cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label and certificate. Artist inventory PL2020-970. No...

Ritual - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label and certificate. Artist inventory PL2020-974. Not moun...

I was always your Girl, 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 ...

Star 80 (Back in the 80's) - 1999 48x46cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label. Artist Inventory #57...

MISS ERIS #11 [From the series Les Foxy Femmes de Carmen De Vos] Exhibited in solo shows in 2018 in Ghent and Antwerp. Published in her book 'The Eyes of the Fox', 2018. Art print ...

Whisky and Water VI (Sidewinder), diptych - 2005 24x20cm each, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the 2 original Polaroids. Signature label and certif...