Long Way Home, triptych

View Similar Items

Stefanie Schneider - Marilyn I, aka Jane Bond (Heavenly Falls) - Polaroid, 21st Century, Women

Stefanie Schneider - It's gonna get worse before it gets any better (Till Death du us Part)

Stefanie Schneider - Gasstation (triptych) - analog, Polaroid, Contemporary, 21st Century, Color

Stefanie Schneider - Dayworker (American Depression)

Stefanie Schneider - The Farmer and his Wife (American Depression)

Stefanie Schneider - Frozen XIV (Stranger than Paradise)

Stefanie Schneider - Frozen XIII (Stranger than Paradise)

Stefanie Schneider - Frozen XII (Stranger than Paradise)

Stefanie Schneider - Frozen I (Stranger than Paradise)

Stefanie Schneider - Frozen (16 pieces) Contemporary, Landscape, USA, Polaroid, Figurative, Ice, Snow

Stefanie Schneider - White Tank - My own Private Travel Diary

Want more images or videos?

Request additional images or videos from the seller

1 of 7

Stefanie Schneider
Long Way Home, triptych
1999

About the Item

Long Way Home (Stranger than Paradise), 1999, 3 x 38x36cm, Edition 2/30, digital C-Prints, based on 3 Polaroids Certificate and Signature label artist Inventory Nr. 250.51 not mounted Stefanie Schneider: THE GREATER THE EMPTINESS THE GRANDER THE ART – Stefan Gronert Not “Twenty-six Gasoline Stations” but “29 Palms, CA”! Forty-two years after Ed Ruscha’s legendary book, there is no gasoline station at the beginning of the book that is here at hand. Instead it is the open hearted Radha – with orange hair, pink-colored overalls and a bashful, or rather cunning, gaze that is directed downward – with which this book begins! And with her and with Max – attention: a woman –, one whose appearance is in accordance with the same styling, it comes to an end as well – after Radha has in the meantime colored her fingernails pink, again endowed with the same open heartedness and the same look which now, however, reveals in combination with her altered facial expression an “old-maidish” turning away from the viewer. This may serve as an example for a vivid and understandable transformation which flows into a large-scale representation of a cheerless settlement beneath a shining, blue sky – there a figure, lost straightaway, becomes overwhelmed. Pictures which in 1998/99 play in the harsh California sunlight or in spaces that are not exactly cozy and comfortable. “Play” is the correct word in this regard, for precisely in view of the pictures of persons, there remains more than just doubt as to whether we are looking at staged scenes or have simply happened upon the high-strung “reality” of a (wannabe) film world. Yet not all the pictures have the same character of a glaring, plastic world. Upon flipping through the pages, we also encounter unpretentious, literally “colorless” scenes in undefined interiors, or unspectacular views resembling a still life and opening out onto a nowhere land. That which connects all participants in these picture-worlds is the observation that they appear to be exhausted, lost, empty or uncertain about their existence. One is almost reminded of the empty gazes and loneliness of the protagonists in the pictures of large cities painted by Manet or Degas in the era of Early Modernism. With one exception, all the photographs which are reproduced here, which originally measure 60 by 70 cm but which here, in their present size and configuration, make productive use of the possibilities presented by the medium of the book, manifest several elements of B-movies: smoking, naked, made-up and muscular persons who are not inclined to conform entirely to the vision of Hollywood dreams. Beauty and vexation, eroticism and loneliness enter into a mixture which reveals the rift between desire and truth. From a distance, one is reminded of the “Untitled Film Stills” of Cindy Sherman, which in this regard are not nearly as drastic. Yet whereas her photos from the seventies are characterized by a cool, objective mode of representation in historicizing blackand-white, the photographs of Stefanie Schneider evince a soft, sometimes seemingly pictorial visual language with a coloration ranging from the pale to the artificial-glaring. As in many other pictures of Stefanie Schneider which often present themselves to us as sequences, these photos refer back as well to the perceptual stereotypes of film. Making use of instant photography, proceeding from which significantly enlarged C-prints come into being, her pictures summon up the impression of a narration without ultimately becoming part of a plot that is readable in a linear fashion. The illusion of the narrative element, however, simply enhances the experience of a renunciation of just this aspect. For the picture titles as well – and also the title of this publication – provide no real help with the imaginary construction of a story. Nevertheless, names return which include the first name of the artist herself: hence is everything not in fact a game but rather a series of authentic and instantaneous images, or is it after all nothing other than a staging, a game – how real is life? The paucity of plot elements, which contradicts all expectation of a cinematic style, as well as the emptiness and loneliness of the persons, enters into a peculiar, sometimes seemingly surreal association with the magic of the sun-drenched expanses of the dreamlike landscape. Just as the fantasy and imagination of the viewer are stimulated, so to the same great extent does the redemption of these visual figures of love founder on a void whose glaze is created, not least of all, by the peculiar blurriness of the photographic representation. The seemingly amateur character of these pictures, which have in no way been treated with any excessive scrupulousness, leaves us with a stimulating incertitude as to their interpretation, one in which the spheres of reality, fiction or dream are scarcely capable any longer of being differentiated. Thus the gaps and the scenic openness of what is presented ultimately set in motion a self-appraisal. So what remains after “29 Palms, CA”? Perhaps that hope which deviates from the saying of Ruscha that is quoted in the title: The stronger the photography the better the reality will be! Translated by George Frederick Takis Stefanie Schneider lives and works in the California High Desert where her scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. 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. 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.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
1999
Dimensions:
Height: 14.97 in (38 cm)Width: 47.25 in (120 cm)Depth: 0.04 in (1 mm)
Medium:
C Print,Polaroid
Movement & Style:
Contemporary
Period:
1990-1999
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU65237094352

Long Way Home, triptych

View Similar Items

Stefanie Schneider
Long Way Home, triptych
1999

About the Item

2010s Contemporary Landscape Photography

Stefanie Schneider
Marilyn I, aka Jane Bond (Heavenly Falls) - Polaroid, 21st Century, Women, 2016

Early 2000s Contemporary Landscape Photography

Stefanie Schneider
It's gonna get worse before it gets any better (Till Death du us Part), 2005

Early 2000s Contemporary Landscape Photography

Stefanie Schneider
It's gonna get worse before it gets any better (Till Death du us Part), 2005

Early 2000s Contemporary Portrait Photography

Stefanie Schneider
Gasstation (triptych) - analog, Polaroid, Contemporary, 21st Century, Color, 2000

Early 2000s Contemporary Portrait Photography

Stefanie Schneider
Dayworker (American Depression), 1999

Early 2000s Contemporary Portrait Photography

Stefanie Schneider
The Farmer and his Wife (American Depression), 2004

21st Century and Contemporary Contemporary Landscape Photography

Verena Prenner
Camping 2 - 21st Century Landscape Portrait Photography Simpsons Edition, 2018

Early 2000s Contemporary Portrait Photography

Tim Flach
Penny Working The Bracken - Tim Flach, British Art, Animal Photography, Dogs

21st Century and Contemporary Contemporary Landscape Photography

Samuel Hicks
Car, Downtown Car Park, Dallas, Texas, Samuel Hicks - Landscape Photography, 2006

Early 2000s Contemporary Landscape Photography

Megan Cump
Lair, 2008

2010s Contemporary Portrait Photography

Jimmy Nelson
Jimmy Nelson - XXI 306 // XXI Vanuatu, Photography 2011, Printed After, 2011

2010s Contemporary Landscape Photography

Jimmy Nelson
Jimmy Nelson - IV 475 // IV Himba, Namiba, Photography 2014, Printed After, 2014

Recently Viewed

Long Way Home, triptych

View Similar Items

Stefanie SchneiderLong Way Home, triptych1999

About the Item

2010s Contemporary Landscape Photography

Stefanie SchneiderMarilyn I, aka Jane Bond (Heavenly Falls) - Polaroid, 21st Century, Women, 2016

Early 2000s Contemporary Landscape Photography

Stefanie SchneiderIt's gonna get worse before it gets any better (Till Death du us Part), 2005

Early 2000s Contemporary Landscape Photography

Stefanie SchneiderIt's gonna get worse before it gets any better (Till Death du us Part), 2005

Early 2000s Contemporary Portrait Photography

Stefanie SchneiderGasstation (triptych) - analog, Polaroid, Contemporary, 21st Century, Color, 2000

Early 2000s Contemporary Portrait Photography

Stefanie SchneiderDayworker (American Depression), 1999

Early 2000s Contemporary Portrait Photography

Stefanie SchneiderThe Farmer and his Wife (American Depression), 2004

21st Century and Contemporary Contemporary Landscape Photography

Verena PrennerCamping 2 - 21st Century Landscape Portrait Photography Simpsons Edition, 2018

Early 2000s Contemporary Portrait Photography

Tim FlachPenny Working The Bracken - Tim Flach, British Art, Animal Photography, Dogs

21st Century and Contemporary Contemporary Landscape Photography

Samuel HicksCar, Downtown Car Park, Dallas, Texas, Samuel Hicks - Landscape Photography, 2006

Early 2000s Contemporary Landscape Photography

Megan CumpLair, 2008

2010s Contemporary Portrait Photography

Jimmy NelsonJimmy Nelson - XXI 306 // XXI Vanuatu, Photography 2011, Printed After, 2011

2010s Contemporary Landscape Photography

Jimmy NelsonJimmy Nelson - IV 475 // IV Himba, Namiba, Photography 2014, Printed After, 2014

Recently Viewed

Stefanie Schneider
Long Way Home, triptych
1999

Stefanie Schneider
Marilyn I, aka Jane Bond (Heavenly Falls) - Polaroid, 21st Century, Women, 2016

Stefanie Schneider
It's gonna get worse before it gets any better (Till Death du us Part), 2005

Stefanie Schneider
It's gonna get worse before it gets any better (Till Death du us Part), 2005

Stefanie Schneider
Gasstation (triptych) - analog, Polaroid, Contemporary, 21st Century, Color, 2000

Stefanie Schneider
Dayworker (American Depression), 1999

Stefanie Schneider
The Farmer and his Wife (American Depression), 2004

Verena Prenner
Camping 2 - 21st Century Landscape Portrait Photography Simpsons Edition, 2018

Tim Flach
Penny Working The Bracken - Tim Flach, British Art, Animal Photography, Dogs

Samuel Hicks
Car, Downtown Car Park, Dallas, Texas, Samuel Hicks - Landscape Photography, 2006

Megan Cump
Lair, 2008

Jimmy Nelson
Jimmy Nelson - XXI 306 // XXI Vanuatu, Photography 2011, Printed After, 2011

Jimmy Nelson
Jimmy Nelson - IV 475 // IV Himba, Namiba, Photography 2014, Printed After, 2014