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Stefanie Schneider
Narween (Saigon) - vintage, Contemporary, Polaroid, Analog, Photograph

2003

$1,800
£1,370.90
€1,580.16
CA$2,518.19
A$2,830.28
CHF 1,473.93
MX$34,423.16
NOK 18,860.78
SEK 17,885.58
DKK 11,793.25
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About the Item

Narween (Saigon) - 2003 58x56cm, Edition 4/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist inventory Number 469.04. Signature labe and Certificate. Not mounted. 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 century? Born in Germany in 1968, Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works by hand. What is initially most striking about Schneider's images is simply the color of her expired Polaroids but her role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider. This sense of absence runs deep through Schneider's work, the fact she even uses expired film means there is a sense of the unknown as she will not know if her subjects have been captured until she is in the dark room. Long before Valencia, Mayfair and Amaro, or any other Instagram filters, Schneider was creating this otherworldliness the image-sharing network tries to create. What makes Stefanie Schneider’s work so unique is that it’s immediately recognizable. Distinctively ‘wabi-sabi’ in appearance and content. Dream-like, colorful with depth and vision. From start to finish, a truly self-made artist with a pronounced female perspective. (Barnebys UK, May 3, 2017)

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Untitled 01 (Saigon) - 2003 Edition 2/5, 57x58cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid. Artist Inventory Nu...
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Untitled 02 (Saigon), analog C-Print - 21st Century, Contemporary, Polaroid
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Narween (Saigon) - 21st Century, Polaroid, Nude Photography
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Untitled 03 (Saigon) - analog, 58x56cm
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Enchanted (Saigon) - analog vintage print, 58x56cm
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Enchanted (Saigon) - 2003 Edition of 5, plus 2 Artist Proofs. 58x56cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory Number 465. Not mount...
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Untitled 05 (Saigon) - analog vintage print, 58x56cm
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