Items Similar to Another Day in Paradise (The Last Picture Show)

Stefanie Schneider - Untitled 02 (Saigon) - Artist Prooof 2/2

Stefanie Schneider - The Girl I (The Girl behind the White Picket Fence) - Contemporary, Polaroid

Stefanie Schneider - Maria Magdalena (Sidewinder) - Polaroid, Contemporary, 21st Century, Nude, Color

Stefanie Schneider - Silence then (Sidewinder) - Polaroid, Contemporary, 21st Century, Nude, Color

Kirsten Thys van den Audenaerde - Mermaid - 21st Century, Polaroid, Nude Photography, Contemporary

Stefanie Schneider - Untitled 01 (Saigon), analog C-Print - 21st Century, Contemporary, Polaroid

Want more images or videos?

Request additional images or videos from the seller

1 of 2

Stefanie Schneider
Another Day in Paradise (The Last Picture Show)
1999

Name: Another Day in Paradise (The Last Picture Show)
Brand: Stefanie Schneider
Price: 603.14 AUD
Availability: InStock
Rating: 4.9 (36 reviews)

About the Item

Another Day in Paradise (The Last Picture Show) - 1999, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory No 19773. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) 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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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 film making 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....

Creator:
Stefanie Schneider (1968, German)
Creation Year:
1999
Dimensions:
Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.04 in (1 mm)
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652314318432

More From This Seller

View All

Untitled 02 (Saigon) - Artist Prooof 2/2

By Stefanie Schneider

Located in Morongo Valley, CA

Untitled 02 (Saigon) - 2003 Sold out Edition of 5, Artist Proof 2/2, 20x20cm, Archival C-Print, based on a Polaroid. Artist inventory Number 471. Not mounted. Stefanie Schneider...

Category

Early 2000s Contemporary Color Photography

Materials

Photographic Paper, C Print, Color, Polaroid, Archival Paper

Stefanie Schneider
Untitled 02 (Saigon) - Artist Prooof 2/2, 2003

$500

The Girl I (The Girl behind the White Picket Fence) - Contemporary, Polaroid

By Stefanie Schneider

Located in Morongo Valley, CA

The Girl III (The Girl behind the White Picket Fence) - 2013 38x36cm, Edition of 10. Analog C-Print, hand-printed by the artist on Fuji Archive Crystal Paper, matte surface, base...

Category

2010s Contemporary Color Photography

Materials

Archival Paper, Photographic Paper, C Print, Color, Polaroid

Stefanie Schneider
The Girl I (The Girl behind the White Picket Fence) - Contemporary, Polaroid, 2013

$1,111 Sale Price

20% Off

Series: Dream Scapes All available sizes & editions for each size of this photograph: 30" X 72"- Edition of 10 40" X 96"- Edition of 7 40" X 96" - Edition of 3; Lightbox "Drebin’s D...

Category

2010s Contemporary Color Photography

Materials

C Print

David Drebin
David Drebin - Sleepless In San Francisco, Photography 2010, Printed After

Price Upon Request

More Ways To Browse

Blue Day Date

Travel Poster 20 X 30

Unusual Large Tall Blue Sculpture

Vintage Cat Dolls

Vintage Magnolia Prints

Vintage Mexico Travel Posters

Vintage Moulin Rouge Dancers

Vintage Navy Recruiting Poster

Vintage Poster Hong Kong

Vintage Posters Mucha

Vintage Quebec Posters

Vintage Republican Posters

Vintage Travel Poster Qantas

Vintage Wedding Bouquet

Stefanie Schneider
Another Day in Paradise (The Last Picture Show)
1999

About the Item