Items Similar to Daisy in front of Mirror - from Till Death do us Part - Proof before Printing

Stefanie Schneider - Bells Ringing (Sidewinder) - Contemporary, 21st Century, Polaroid, Figurative

Stefanie Schneider - Closer (Sidewinder) - Polaroid, 21st Century, Contemporary

Stefanie Schneider - Shelbourne Hotel (Strange Love) - Nude, New York, Contemporary, Polaroid

Kirsten Thys van den Audenaerde - She - Contemporary, Nude, Women, Polaroid, 21st Century, Color

Kirsten Thys van den Audenaerde - I wanna be sedated from The crazy Adventures of David C. - Contemporary, Nude

Stefanie Schneider - Whisky and Water VI (Sidewinder) - Diptych, Polaroid, Nude, 21st Century, Color

Want more images or videos?

Request additional images or videos from the seller

1 of 13

Stefanie Schneider
Daisy in front of Mirror - from Till Death do us Part - Proof before Printing
2005

Name: Daisy in front of Mirror - from Till Death do us Part - Proof before Printing
Brand: Stefanie Schneider
Price: 858.9 CHF
Availability: InStock
Rating: 4.9 (35 reviews)

About the Item

'Daisy in front of Mirror' (Till Death do Us part) Proof b4 Printing / 2005, 128x125cm analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. Not mounted. This piece has not been trimmed on the edges. It's raw showing the analog history of its creation. Nice for safe handling before mounting. What exactly is a proof before printing? The proofs are part of the printing process. They are usually the few last color trials before printing the edition. They are usually not perfectly color corrected yet. Sometimes a proof might be close in color but we still have to re-print to bring everything together. Proofs are by definition imperfect and part of the natural evolution of a print. Sometimes there is no white border or a kink. A proof is a proof of one step on the way to making a print edition.They are by definition, imperfect. Wabi Sabi. Instantdreams Gallery presents Stefanie Schneider: Offered is a piece from the movie: Till Death do Us part 'Till death do us part' an episode of the '29 Palms, CA' project. A film shot on Polaroid stills combined with Super 8 film sequences. 'Till Death Do Us Part' is the story of two young lovers, lonely souls escaping the abuse of reality into each other. Imagine a stranger suddenly in your path, you can just be silent with, and you feel you have known her forever. This is the experience of Cristal and Margarita, that begins when Cristal picks her up hitchhiking on a lonely dessert road. A runaway from a cruel older brother and a broken family, Margarita is searching on the edge of the shadows for a home. Cristal was also a lonely child and already dangerously close to vanishing when she finds Margarita. For her it is the begging of life. When she finds Margarita, she finds herself, she feels for the first time and discovers that she is not invisible after all. The childlike, roadside life they make together is a dream that they truly believe will last forever, and with the naive joy of beginners, they dive in, never sensing danger. When two lost souls become one and share everything, do they loose themselves further or do they become whole at last? When a girl has no home, no anchor, can she combine thrive with another? Once a human heart wakes up from isolation for the first time, enchanted by a reflection in love's mirror, can the dreamer fall asleep again, or must she wander searching to find it again forever? An artistic triumph for Schneider, this piece floats deeper into her exploration of the colors of the human psyche, separation, relationship, androgyny and the fringes of social reality. The Californian desert light and the vintage colors of Polaroid create a unforgettable atmosphere in the abandoned trailer park. Austen Tate gives Margarita her voice in poetry and Daisy McCrackin gives Cristal her sound in music. 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. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distils auratically charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangley alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the poor film stock emphazises the fragility of the icon even more. FlashART - Sabine Dorothee Lehner (translated from German by Michael Robinson)

Creator:

Stefanie Schneider (1968, German)

Creation Year:

2005

Dimensions:

Height: 49.22 in (125 cm)Width: 48.04 in (122 cm)Depth: 0.04 in (1 mm)

Medium:

Photographic Paper,C Print,Polaroid

Movement & Style:

Contemporary

Period:

2000-2009

Condition:

Gallery Location:

Morongo Valley, CA

Reference Number:

Materials

Metal

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

Category

Early 2000s Contemporary Nude Photography

Materials

Photographic Paper, C Print, Color, Silver Gelatin

Richard Heeps
Burlesque Series, Delilah Right Red Hand I, The Whoopee Club, London, 2003

$807

More Ways To Browse

Mirror Clusters

Cluster Of Mirrors

Vintage Roadside Sign

Krakow Vintage Poster

Large Bronze Giraffe

Late 1880s Wine Glasses

Le Mont Saint Michel Vintage

Leipzig Piano

Les Miserables

Life Size Porcelain Dog

Lithograph Kiki Smith

Marilyn Monroe George Barris

Stefanie Schneider
Daisy in front of Mirror - from Till Death do us Part - Proof before Printing
2005

About the Item