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Stefanie Schneider
29 Day Dreams - 29 Palms, CA, analog hand-print, 58x56cm, 21st Century, Polaroid
1999

Name: 29 Day Dreams - 29 Palms, CA, analog hand-print, 58x56cm, 21st Century, Polaroid
Brand: Stefanie Schneider
Price: 2023.54 AUD
Availability: InStock
Rating: 4.9 (36 reviews)

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£966.76

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€1,100

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CA$1,799.06

CA$3,271.0244% Off

A$2,023.54

A$3,679.1744% Off

CHF 1,049.57

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MX$24,547.04

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NOK 13,307.89

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SEK 12,523.47

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DKK 8,370.44

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About the Item

29 Day Dreams (29 Palms, CA) - 1999 58x56cm, Edition of 10, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, matte surface, based on a Polaroid, Not mounted, Signature label and Certificate, artist inventory number: 278.03 published in: STRANGER THAN PARADISE published by Hatje Cantz Verlag, Ostfilder, 2006, (monography), 29 PALMS, CA published by Galerie Kaempf, Basel, 2004, (monography) Exhibition history: 2005: nd-projects (Plattform elf), Zurich, Switzerland (S) - 2004: 29 Palms, CA, curated by Andrea Domesle, Brotfabrik, Berlin, Germany (S), Gallery Zelda Cheatle, London, United Kingdom (S), Endstation Sehnsucht, Galerie Greulich, Frankfurt, Germany (S), 29 Palms, CA, Galerie Kaempf, Basel, Switzerland (S) (catalog), Galerie Michael Sturm, Stuttgart, Germany (S) Stefanie Schneider’s work is a meditation on time—its erosion, its persistence, its ability to fracture and reassemble in the mind’s eye. Like faded dreams or half-remembered encounters, her Polaroid images exist in a liminal space where past and present bleed into one another, never quite whole, never truly lost. Her process itself is an act of defying time. The expired Polaroid film she employs carries within it the chemical scars of its own history, yielding unpredictable mutations that transform each image into an artifact of imperfection. These distortions are not merely aesthetic choices but echoes of memory—relics of moments that refuse to remain static. In an era of hyper-clarity and digital perfection, Schneider’s art invites us to embrace the ephemeral, to find beauty in the decayed and the transient. The American West, a landscape steeped in myth and reinvention, becomes the perfect backdrop for this exploration of time’s paradoxes. Her subjects—wandering figures in motels, trailer parks, and endless deserts—are suspended between nostalgia and an uncertain future, much like the film she captures them on. They exist in a cinematic loop, their stories unfolding and dissolving, caught in the glow of a setting sun that never fully disappears. But there is a deeper shift at play, one that mirrors the changing nature of artistic life itself. Before 2020, artists thrived on movement, on exposure, on a constant dialogue between places and people. Travel was a necessity, a lifeline to new influences and inspirations. Yet, in the wake of global upheaval, a hyper-isolationist existence has taken hold, where the act of creation unfolds within a contained world. Schneider’s desert sanctuary reflects this new reality—an alternate universe born from necessity, a space where time stretches and bends inward, echoing the dreamlike qualities of her work. The outside world receded, but within this solitude, another form of freedom emerged: the ability to construct a world entirely of one’s own making. Memory, like Schneider’s images, is imperfect. It shifts, it fades, it distorts. Yet, in these imperfections, new narratives emerge—ones that feel more real than reality itself. This is the power of Schneider’s work: to remind us that time is not linear but layered, that the past is never truly past, and that every moment carries the weight of all that came before. Her work is not just a preservation of a vanishing medium—it is a meditation on the nature of remembrance itself. In every blurred silhouette and chemical wash of color, she captures what it means to hold onto time even as it slips through our fingers, to relive and reinterpret, over and over again, the memories we think define us. Schneider’s images are time capsules, not of fixed moments, but of the way moments feel—a testament to how time warps, erases, and ultimately reveals. They are not just photographs; they are fragments of time, unraveling like film caught in the projector’s glow, forever flickering between memory and dream. 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, Bombay Beach Biennale 2018.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
1999
Dimensions:
Height: 22.84 in (58 cm)Width: 22.05 in (56 cm)Depth: 0.04 in (1 mm)
More Editions & Sizes:
20x20cm, Edition of 10Price: $359
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
1990-1999
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652316259832

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Stefanie Schneider29 Day Dreams - 29 Palms, CA, analog hand-print, 58x56cm, 21st Century, Polaroid1999

About the Item