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Stefanie SchneiderPoolside (29 Palms, CA) - mounted - Contemporary, 21st Century, Polaroid, Woman1999
1999
About the Item
Poolside (29 Palms, CA) - 1999
Edition 10/10,
67x60cm, including white 'Polaroid' frame.
Analog C-Print, hand-printed by the artist, mounted on Aluminum with matte UV-Protection, based on the Polaroid.
Artist inventory Number 619.10.
Signed on back with Certificate.
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, photographer 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.
Schneider’s work is unique and thus immediately recognizable. Unmistakably ‘wabi-sabi’ in appearance and content. Dreamlike, colorful with depth and vision. From start to finish, a truly self-made artist with a distinctively female perspective. In fact, the first to use expired instant film in fine art photography. Schneider's Polaroid film was bought, stored and used only for when it's best performance is expected. The sets, costumes and concepts are all constructed and friends are invited to 'play' in the dreams she wants to conjure. A large format negative is made of the choice shots to enlarge the image to its optimum size and finally handprint an analog edition in Schneider's self-built darkroom / dreamlab. Ready for mounting and hanging.
(Barnebys UK, May 3, 2017)
- Creator:Stefanie Schneider (1968, German)
- Creation Year:1999
- Dimensions:Height: 26.38 in (67 cm)Width: 23.63 in (60 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652312578062
Stefanie Schneider
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, 2019.
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Signature label and Certificate.
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2005 SIDEWINDER - Director / Artist / Camera / Editing - starring JD Rudometkin, Stefanie Schneider, music by JD Rudometkin
private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishisized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation. (Adam Budak, Kunsthaus Graz, Oct 2005)
Sidewinder
There’s blood on the dress that hangs in the Airstream trailer outside 29 palms. With the pistol in her sweat palm touching at his temple. Tell me what god’s gonna do for me and you now Stevie’s saying while Brother John Baptiste looks there across to where her cat seems weak and fed. All the good that comes to me from my believing man, I wanna hear about it said to me like that. Just the way you breathed it like you did 10 minutes ago when I was wrapped so well around your head. Silence then. A baby screams his mother out in the dessert night who wakes so late. Orion is a belt John Baptiste looks at through the torn-screen trailer window. There, touching his calf are vipers crawling now across her feet between his knees in front of her he kneeling for his life and they are full of venom with their broken fangs.
A gun at head, where even his breath, so short, is preaching. He’s in a wheat field. John Baptiste. Counting birds on telephone wires hung low in afternoon where his mother’s call cannot now reach him. There she stands a weeping willow with the sidewinder underneath the trailer step a drop of blood upon her ankle with the bullet through its head. A scar follows sweat palm to wrist. Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California 16 years ago but who’s counting 6 bullets for the barrel wait beside the temple. The long white shaft of tissue hemmed together gods tattoo along her ribs, hip to breast. She wants to fuck the preacher in her trailer with his bible on the alter front row Stevie asks forgiveness holy father from the car that shook her bones apart. John Baptiste asks to pray before she leads his temple head...
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