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Stefanie Schneider
Still Good Friends (Suburbia) - Contemporary, Polaroid, Photography, Portrait

2004

$380
£291.80
€334.74
CA$533.94
A$597.98
CHF 312.02
MX$7,304.12
NOK 3,969.78
SEK 3,742
DKK 2,498.16

About the Item

Still Good Friends (Suburbia) - 2004 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label with Certificate. Artist Inventory No. 1674. Not mounted. This project "Suburbia" was shot on the set of Marc Forster's first feature film "Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, and others. This piece features all of the above. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge, Fringes, Periphery, Limits, Outer reaches, Environs ] 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. 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, 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 striking about Schneider's images is perhaps 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.'' ''The ex-lover experiences the residues of love as an amputee experiences the sensation of a ghost limb.'' - Stefanie Schneider 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. Dream-like, 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 when its 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 hand print an analog edition in Schneider's self-built darkroom/dreamlab. Ready for mounting and hanging. Barnebys, May 3rd, 2017

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