Save me (Sidewinder) - Polaroid, Contemporary, 21st Century, Self-Portrait

View Similar Items

Stefanie Schneider - Hillview Motel (Stranger than Paradise) - analog, vintage, based on 3 Polaroids

Stefanie Schneider - Gestures - 21st Century, Polaroid, Portrait, Contemporary, Self Portrait

Stefanie Schneider - Lollipop I (Beachshoot) starring Radha Mitchell - framed, analog, Polaroid

Leanne Surfleet - Self-Portrait I - Contemporary, Polaroid, Color, Portrait

Stefanie Schneider - Red Desert (Stranger than Paradise) - Contemporary, self-portrait

Stefanie Schneider - Untitled (Beachshoot) - Polaroid - featuring Radha Mitchell

Stefanie Schneider - Untitled (Beachshoot) - with Radha Mitchell, analog, Polaroid, Contemporary

Stefanie Schneider - Untitled (Beachshoot) - Polaroid - featuring Radha Mitchell

Stefanie Schneider - Alice (Stranger than Paradise), analog, 5 pieces

Stefanie Schneider - Lollipop I (Beachshoot) starring Radha Mitchell - framed, analog, Polaroid

Stefanie Schneider - Morning Rose - Polaroid, Contemporary, Roses, 21st Century, Color

Stefanie Schneider - Bank of America I (The Getaway) - The Last Picture Show - Polaroid, Contemporary

Want more images or videos?

Request additional images or videos from the seller

1 of 5

Stefanie Schneider
Save me (Sidewinder) - Polaroid, Contemporary, 21st Century, Self-Portrait
2005

Name: Save me (Sidewinder) - Polaroid, Contemporary, 21st Century, Self-Portrait
Brand: Stefanie Schneider
Rating: 4.9 (35 reviews)

About the Item

Save me (Sidewinder) - 2005, 30x30cm, Edition 1/10, digital C-Print, based on Polaroids. Certificate and Signature label. Not mounted. "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 fulfilment and expectation." Adam Budak, Curator for Contemporary Art at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution in Washington DC   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. For twenty minutes darkness hides the accidents in trailer shade her childish screams a preacher underneath her shimmer blue bled dress. The prayers he said beside the bed with mother for relatives with tumors, brand new bicycles, and rain. Stevie takes the whisky in her mouth to wash him out the sidewinder skids across her wounded foot of scars. John Baptiste asks the Lord to heal her in the new day that is breaking mouth of whisky spits it laughing father forgive the trigger finger for the viper he gives thanks And takes the barrel toward his lips through mumbling supplication kiss it Brother Stevie offers, please, but doesn’t wait him there. Copper penny Sunday School upon the tongue. And closed his eyes. A blur of her and mother. Other bodies. Women, gently crushing spirits. Prayers. His han under her weight in grams. The fingernail fang and fucks it. So slid the pull of metal out As god can answer. And into her mouth then. Settles. And wet the metal. He touches her, his finger. Viper like. And fuck it sore. Believers. Repentant whore forgiven preacher leaving town in that old ragtop down and left a rag dress bleeding in the Airstream soft, again.  (JD Rudometkin) 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? 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.'' The first to use expired Polaroid film as their medium and in doing so inspired the resurrection of Polaroid film itself. Saving the last production line in the world from it's impending destruction in 2008. 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. (Barnebys UK, May 3, 2017 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.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2005
Dimensions:
Height: 11.82 in (30 cm)Width: 11.82 in (30 cm)Depth: 0.04 in (1 mm)
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU65237912862

More From This Seller

View All

Hillview Motel (Stranger than Paradise) - analog, vintage, based on 3 Polaroids

By Stefanie Schneider

Located in Morongo Valley, CA

Hillview Motel (Stranger than Paradise) - triptych, 2003 Edition 6/10, 183x56cm installed, 58x56cm each, 3 analog C-Prints, hand-printed by the artist, based on the 3 original Pol...

Category

1990s Contemporary Portrait Photography

Materials

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

Love Me Sweet C-print on Fuji Paper Collection: FLOWER LOVE Available Sizes 40.5 x 30.3 Edition of 8 + 2 Artist Proofs, 10 left 28.7 x 21.6 Edition of 6 + 2 Artist Proofs, 8 left FL...

Category

2010s Contemporary Color Photography

Materials

Archival Ink, Archival Paper, Photographic Paper, C Print, Digital, Arch...

Isabelle Van Zeijl
Isabelle Van Zeijl - Love Me Sweet, Photography 2020, Printed After, 2020

$4,500

Save me (Sidewinder) - Polaroid, Contemporary, 21st Century, Self-Portrait

View Similar Items

Stefanie Schneider
Save me (Sidewinder) - Polaroid, Contemporary, 21st Century, Self-Portrait
2005

About the Item