Items Similar to Lackadaisical (The Last Picture Show)
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Stefanie SchneiderLackadaisical (The Last Picture Show)2000
2000
About the Item
Lackadaisical (The Last Picture Show) - 2000,
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid. Certificate and Signature label.
Artist Inventory No 19779.
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 The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised.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:2000
- Dimensions:Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652314318452
About the Seller
4.9
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1996
1stDibs seller since 2017
955 sales on 1stDibs
Typical response time: 2 hours
- ShippingRetrieving quote...Ships From: Morongo Valley, CA
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- Max Blue (The last Picture Show) - based on a Polaroid Original - ProofBy Stefanie SchneiderLocated in Morongo Valley, CAMax Blue (The last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, ha...Category
1990s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
- Bates Motel I (The last Picture Show) - based on a Polaroid Original - ProofBy Stefanie SchneiderLocated in Morongo Valley, CABates Motel I (Last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, h...Category
1990s Contemporary Color Photography
MaterialsPolaroid, Archival Paper, Photographic Paper, C Print, Color
- Tree at Night (The last Picture Show) - based on a Polaroid Original - ProofBy Stefanie SchneiderLocated in Morongo Valley, CATree at Night (Last Picture Show) Proof b4 Printing, 38x36cm, 2005 analog C-Print, hand-printed by the artist, based on a Polaroid, signed on front. This is a raw analog C-print, h...Category
1990s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
- Untitled (Fairytales) - analog, Contemporary, Polaroid, ColorBy Stefanie SchneiderLocated in Morongo Valley, CAUntitled (Fairytales) - 2006 48x59cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the original Polaroid. Certif...Category
Early 2000s Contemporary Color Photography
MaterialsPhotographic Paper, C Print, Color, Polaroid, Archival Paper
- Lila & Sam - Contemporary, Figurative, Polaroid, Photograph, Expired, AnalogBy Stefanie SchneiderLocated in Morongo Valley, CAA piece of art from the feature film movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Ma...Category
Early 2000s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
- Circle of Magic - A Wish - 29 Palms, CA, analog, mountedBy Stefanie SchneiderLocated in Morongo Valley, CA'A Wish' (Circle of Magic) from the 29 Palms, CA project, 2009, 37x47cm, Edition 5/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, ...Category
Early 2000s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print, Color, Polaroid
You May Also Like
- Terry O'Neill - Faye Dunaway at the Pool, Photography 1977, Printed AfterBy Terry O'NeillLocated in Greenwich, CTAmerican actress Dorothy Faye Dunaway was one of the hottest actresses in the 1970s playing neurotic, highly driven women with sex appeal. She worked onstage before moving to the big...Category
1970s Contemporary Color Photography
MaterialsArchival Paper, Photographic Paper, C Print
- Tyler Shields - Pill, Photography 2020, Printed AfterBy Tyler ShieldsLocated in Greenwich, CTSeries: Mouths Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 40" x 40" 60" x 60" 70" x 70" Editions of 3 + 2 Artist Proofs Tyl...Category
2010s Contemporary Color Photography
MaterialsLuster, Archival Paper, Photographic Paper, C Print
- Tyler Shields - The Girl with The Red Glove, Photography 2021, Printed AfterBy Tyler ShieldsLocated in Greenwich, CTSeries: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of ...Category
2010s Contemporary Color Photography
MaterialsDigital Pigment, Luster, Archival Pigment, Inkjet, Laser, Digital, Color...
- Tyler Shields - The Girl in The Red Car, Photography 2021, Printed AfterBy Tyler ShieldsLocated in Greenwich, CTSeries: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of ...Category
2010s Contemporary Color Photography
MaterialsLuster, Paper, Archival Ink, Archival Paper, Photographic Paper, C Print...
- Isabelle Van Zeijl - All For Love, Photography 2020, Printed AfterBy Isabelle Van ZeijlLocated in Greenwich, CTAll For Love C-print on Fuji Paper Collection: FLOWER LOVE One size: 40.5 x 40.5 Edition of 8 + 2 Artist Proofs FLOWER LOVE Roses warm you heart, they ins...Category
2010s Contemporary Color Photography
MaterialsArchival Ink, Digital Pigment, Archival Pigment, Digital, C Print, Photo...
- Isabelle Van Zeijl - Love Me Wild, Photography 2020, Printed AfterBy Isabelle Van ZeijlLocated in Greenwich, CTLove Me Wild C-print on Fuji Paper Collection: FLOWER LOVE One Size 40.5 x 30.3 Edition of 8 + 2 Artist Proofs, 9 left FLOWER LOVE Roses warm you heart, t...Category
2010s Contemporary Color Photography
MaterialsArchival Ink, Digital Pigment, Archival Pigment, Digital, C Print, Photo...
