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Stefanie Schneider
Girfriends (Suburbia) - analog, featuring Radha Mitchell and Michele Hicks

2004

$3,000
£2,227.34
€2,595.46
CA$4,164.97
A$4,658.78
CHF 2,424.46
MX$57,351.17
NOK 30,844.11
SEK 28,937.85
DKK 19,364.75
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About the Item

Girlfriends (Suburbia) - 2004 60x80cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the Polaroid. Signature Label and Certificate. Artist inventory number: 409. Not mounted. This series was shot on the set of Marc Forster's first feature film 'Everything put together". Featuring Radha Mitchell and Michele Hicks. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge, Fringes, Periphery, Limits, Outer reaches, Environs ] Stefanie Schneider: A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts, and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st centuries? Stefanie Schneider was born and raised in Germany but lives and works in Southern California. Exploring the American dream and capturing it with Polaroid instant film. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambiance for loosely woven storylines and a cast of phantasmic characters that reflect a part of the narrator's life told from her perspective. Often about love, communication. sexuality and relationships. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies, Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction yet they also explore the relationship between the medium and the viewer. The wabi-sabi 'ness' of Schneider's work can not be denied or ignored. It's a step of acceptance of 'flaws', gaps, and distortions. Missing pieces of the puzzle. The artist flaunts, uses, and exposes the unknown using expired Polaroid instant film intentionally. Presents it. What you do with that is up to you. That missing part of the picture is for you to include yourself, you fill it in with yourself. That might be critical that it's there at all, missing and missing the entire point altogether or by filling in the unknown with their own imagination. Even their own memories then integrate the viewer and artist as one with limitless potential.
  • Creator:
    Stefanie Schneider (1968, German)
  • Creation Year:
    2004
  • Dimensions:
    Height: 23.63 in (60 cm)Width: 31.5 in (80 cm)Depth: 0.04 in (1 mm)
  • More Editions & Sizes:
    20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print. Not mounted. Price: $380
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Morongo Valley, CA
  • Reference Number:
    1stDibs: LU652313425822

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Due Date (Suburbia) - with Radha Mitchell - Contemporary, Polaroid
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Due Date (Suburbia) - 2004, 28x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1662. Not mounted. The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ] Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life. The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants. Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy. Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
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Happiness (Suburbia) - with Radha Mitchell - Contemporary, Polaroid
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Happiness (Suburbia) - 2004 28x37cm, Edition of 10, Archival C-Print based on the Polaroid. Signature label with Certificate, Not mounted. Artist Inventory # 408. Suburbia Phot...
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Early 2000s Contemporary Figurative Photography

Materials

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

Gratification (Stage of Consciousness) - starring Radha Mitchell
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Gratification (Stage of Consciousness) - 2007 featuring Radha Mitchell 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signa...
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Due Date II (Suburbia) - with Radha Mitchell - Contemporary, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Due Date II (Suburbia) - 2004, 28x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1666. Not mounted. The project "Suburbia" was shot on the set of Marc Forster's first feature film 'Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ] Sunday in suburbia, a summer's day heavy with heat, hardly a soul to be seen. As a result, the motifs of Stefanie Schneider's “Suburbia” cycle – put together in California, in the very west of the USA – are virtually inconspicuous.Schneider's camera encircles an idyllic American setting, capturing a garden practically empty of people. Surrounded by a white picket fence, flowers and trees bloom profusely in the blazing sunlight. The day is empty and quiet like only a Sunday can be. The grass is perfectly cut, the garden well tended, the inhabitants oblivious to everything and lethargic. An instant is seized, revealing the tragedy of an average, unsuccessful, middle class life. The scene is familiar from countless movies and American literature; the perfect façade of an American ideal, which seems to conceal the horror of daily life. In David Lynch's „Blue Velvet“ the film begins with the camera rolling over a similar setting: the view over the fence, the painstakingly neatly cut lawn, ending with a close-up: a cut-off ear covered with feasting ants. Stefanie Schneider overdoes it, she exaggerates: this is confirmed by the irritating colourfulness as well as the vehemence of the motifs. Emptiness stands in stark contrast to the beauty of the blooming roses or the lush growth of the trees. The fenced, idyllic summer scene appears vacant; unused chairs surround a table, the grill untouched and clean, no object out of place. It is only the inhabitants who appear curiously lost. Schneider shows them in the middle of their saturated lives, in well-tended averageness, which can only be endured with a Martini on ice, on hand before lunch. In her opinion the scenes are banal, yet one becomes witness to great intimacy. Schneider's „Suburbia“ cycle lives from the interplay of the motifs, and tells a story with the same flavour as American author Raymond Carver...
Category

Early 2000s Contemporary Figurative Photography

Materials

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

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