Portrait Photography

April Blue Eyes (Suburbia) - 2004 38x47cm, Edition of 30, archival Print based on the Polaroid, Signature label and Certificate, artist inventory number: 402.11. Not mounted. ...

'Ronald' from the movie Immaculate Springs - 1998 Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature L...

Desert Junkyard II (29 Palms, CA) - 1999 58x56cm, Edition of 10 analog C-Print, hand-printed by the artist based on the Polaroid Artist inventory #319.02 Mounted on Aluminum Stef...

Dugong I (Stay), from Ryan Gosling's memory sequence - 2006 31x39cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, printed by the artist on Fuji Archive Crystal Paper, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2130. Not mounted. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham...

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, 58x56cm each, 58x124cm installed with gap. 2 analog C-Prints, hand-printed by the artist, printed on Fuji C...

'Hans' from the movie Immaculate Springs - 1998 Edition of 10, 20x30cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist in...

Untitled 09 (Oxana's 30th Birthday) - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist I...

Untitled (Traintracks) - The last Picture Show - 2004 40x39ccm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Arti...

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

Spiegelbild (Stage of Consciousness) part of the 29 Palms, CA project - 2008 70x86cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. A...

From Richard Heeps 'Man's Ruin' Series, this contemporary portrait is part of a sequence of artworks 'Wendy Flaming Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' shot ...

'Love You Actor Girl' (Stage of Consciousness) - 2007 20x24cm, sold out Edition of 5, Artist Proof 2/2, Archival C-Print, based on the Polaroid, Certificate and Signature label, a...

Mirorred (Memories of Green) - 2003, Edition of 5, 58x56cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventory Numbe...

Her last Call II (The Girl behind the White Picket Fence) - 2013 48x47cm, Edition 1/10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Portrait Of Keith Richard of The Rolling Stones 1998 Berlin Archival Fine Art pigment print edition of 10 30 x 40 inches / 76 xc 101 cm signed and numbered on the front by Kevin Westenberg. (The stated print size is the Image size, and not the overall paper size) This print is unframed. Archival Pigment print. About the artist : Kevin Westenberg is famed - for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. Shortly after receiving an Architecture degree he moved to London where he’s been based since 1983. Westenberg is self-taught and learned his trade working for the UK inkies “New Musical Express” and “Melody Maker” mainly throughout the late 80’s and 90’s documenting amongst others all the UK ‘Britpop’ bands. The breakthrough came in 1993-1994 with the release of Sting’s Ten Summoner’s Tales and Mary J Blige’s Share My World. These two album covers changed the perception of the work worldwide and thus began a run of 20 years of commissions and choice opportunities. For the last 25 years, his musical heritage includes portraits of Radiohead, Thom Yorke, Coldplay, White Stripes, Jane's Addiction, Sting, Bjork, Nirvana, Jeff Buckley, Luther Vandross, Nine Inch Nails, Stone Roses, The Pixies, Paul Weller, Rufus Wainwright, Michael Stipe, U2, Mary J. Blige, R.E.M., Black Sabbath, Massive Attack, BB King, The Rolling Stones, PJ Harvey, Marilyn Manson, Pete Doherty, Oasis, Soundgarden, Jake Bugg, and Bon Jovi among many others. Also included are 100’s of albums, singles, magazine & book covers from around the world. He’s also been chosen as official photographer for the LIVE8 Hyde Park event in 2005 and for Led Zeppelin reunion concert at the 02 Arena, London. The work & interest also include a wide range of artists portraits beyond the music world. David Lynch, Paul Auster, The Coen Brothers, Rupert Friend, Sir Tom Stoppard, Orla Kiely...

Horizon (Zuma Beach) - 2004 38x37cm each, 38x121cm installed with 5 cm gaps, Edition of 5, 3 Analog C-Prints, hand printed by the artist, based on the Polaroids. Mounted on Aluminum with matte UV-Protection. Signed on back with Certificate. Artist Inventory # 667. Stefanie Schneider's "Zuma Beach" series captures the essence of summer through a unique blend of photography and Polaroid film. Featuring a range of subjects, from sunbathers to lifeguards to beachgoers, the series explores the iconic beach culture of Southern California. Schneider's use of expired Polaroid film creates a dreamy, nostalgic quality in the images. The saturated colors and soft focus give the photographs a hazy, almost surreal feel that transports the viewer to a bygone era. With "Zuma Beach," Schneider captures the timeless appeal of the beach, reminding us of the carefree days...

Untitled (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory N...

Untitled 03 (Oxana's 30th Birthday) starring Radha Mitchell - 2007, 48x40cm, Edition of 10. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Arti...

The Lonely Hearts DJ (The Girl behind the White Picket Fence) - 2016 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 17050.01. Offered is a piece from the movie: The Girl behind the White Picket Fence - A tale told with blemished and expired Polaroid film about the hopes and dreams of an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girls journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10 acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004, when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck, if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell...

'M' from the movie Immaculate Springs - 1998 - Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist in...

Girl at Fence III (The Last Picture Show) - 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory No. 775.16 Not mo...

President Richard Nixon, 1990 Archival pigment print 14 x 14 inches Signed and numbered edition of 40 William Coupon is an American photographer, born in New York City, known pri...

My Darling come to me (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certif...

Summertime (Oxana's 30th Birthday) starring Radha Mitchell - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Sig...

'Brandon' (California Blue Screen) Edition of 3, 114x142 cm, analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Signat...

Birdy (Stage of Consciousness) - 2007 20x24cm, Edition of 10. Archival C-Print, based on the Polaroid. Signature label and Certificate. artist Inventory No. 7865. Not mounted. ...

The Sound of Music (29 Palms, CA) - 2009 Polaroid - Unique Piece 1/1, 7.2 x 8.9cm (image area) 10.1 x 10.0 cm ( including white Polaroid frame) Artist Inv. #24143. Signed on verso...

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

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...

Margarita (Till Death do us Part) - 2005 48x46, Edition of 10, Archival C-Print, based on the Polaroid. Signed on verso. Artist Inventory No. 8579. Not mounted. On offer is a pi...

Like a Snowball down a Mountain (Stranger than Paradise) - diptych - 1998 43x59 cm each, 91x59cm installed. Edition 4/5. 2 Analog C-Prints, hand-prin...

Nadia's Innocence (Stranger than Paradise) - 1998 43x59cm, Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory #115. 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...

The Tears we cried (Till Death do us Part) - 2005 40x48cm, Edition of 10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 8648. N...

Salton Sea Life (American Depression) - 1999 48 x 46 cm, Edition of 10 plus two artist Proofs. Archival C-Print based on the Polaroid. Signature label...

Flower (29 Palms, CA) - 1999 Archival C-Print, based on the Polaroid, Certificate and Signature label artist Inventory No. 197639, Not mounted. THE GREATER THE EMPTINESS THE GRAN...

Lone Pine Motel - The last Picture Show - 2005 20x20cm, sold out Edition of 5, Artist Proof 1/2, Archival C-Print print, based on the Polaroid Certificate and Signature label artis...

SOS (Last Picture Show) - 1999 Edition of 10, 50x50cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 20645. Signature label an...

No more goodbyes (Stranger than Paradise) - 1999 Edition of 10, 50x50cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 851. Si...

Maybe tomorrow (Stranger than Paradise) - 1999 Edition of 10, 50x50cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 20658. Si...

Pretty Woman (Memories of Green) - 1999 Edition of 10, 50x50cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 20389. Signature...

Lost (Stranger than Paradise) - 1999 Edition of 10, 50x50cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 20375. Signature la...

Untitled (Beachshoot) - 2005 Edition of 10, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1407. Signature label and ...

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1546. Signature label and certifi...

Lone Pine Motel (The last Picture Show) - 2005 128x125cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Mounted on...

A Mirage (Till Death do us Part) - 2005, 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9044. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

'Are you gonna leave me?' (Till Death do us Part) - 2008 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory ...

Please hear my whisper (Till Death do us Part) - 2007 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No...

Springtime (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 18251. Not mounted. Thi...

Time stopped (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. 9303. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part...

Memories (Oxana's 30th Birthday) - 2007 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inve...

Desert Junk Yard (29 Palms, CA) - 1999 Edition of 5, 128x125 cm. Analog C-Print, hand printed by the artist, based on the Polaroid. Mounted on Aluminum with matte UV-protection. ...

Untitled 02 (Oxana's 30th Birthday) - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist I...

Dominique and Felix (Stranger than Paradise) - 1997 38x48cm, Edition of 30, Archival C-Print based on the Polaroid Not mounted, Signature label and Certificate, artist Inventory N...

Genie (29 Palms, CA) - 2008 Edition of 5, 75x93cm analog C-Print, hand-printed by the artist, Mounted on Aluminum with matte UV-Protection, Signed on verso, artist Inventory No. ...

Is it for love? (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label. Artist Inventory No. 8940 Not mount...

Dreamgirl II (29 Palms, CA) - 1999 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and signature label. Artist inventory ...

The Diva (Beachshoot) - 2005 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label, artist Inventory # 1461. Not mounted. Beachshoot T...

Untitled (Olancha) - 2006, 38x37cm. Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate. Arti...