Blue Water Pistol - 29 Palms, CA, diptych

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Stefanie Schneider
Blue Water Pistol - 29 Palms, CA, diptych
1999

Name: Blue Water Pistol - 29 Palms, CA, diptych
Brand: Stefanie Schneider
Rating: 4.9 (36 reviews)

About the Item

Blue Water Pistol (29 Palms, CA), diptych - 1999 Edition 2/10, 58x56cm each, analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Archive Paper Not mounted, based on a Polaroid Artist inventory Number 286.02 signature label and certificate 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 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. Stefanie moved to California permanently in 2020. 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. Long before any Instagram filters, Schneider was creating this otherworldliness with instant film. (Barnebys UK, May 3, 2017) "My dream of accepting so called 'imperfection' is in fact a realizing of a different world view. Formally, my work was called blurry or broken but they fail in the test of acceptance that all things are imperfect. It's a seismic shift for some but in this age where the cracks are no longer hidden, the affirmation of reality is still difficult. The celebration of imperfection reconnects us to the real world where we normally mask our flaws. I chose Polaroid film because it portrays color like candy making even the broken an expression of endearment. The combination of the color and the blemishes of expired Polaroid analog film gave me a sense of inner peace with my surroundings. It just fit. Nothing had portrayed my vision so symbolically. "The film schools I went to scoffed at my discovery blinded by the very imperfections that expressed my passion and love. The quirks, oddities or the perfectly imperfect uniqueness of my work relate to our own life blemishes and somehow make them ok or even remarkable. Honoring that value of imperfection makes it permissible to be. At least for me... I plan engagements in spontaneity for any new project or photoshoot. Allowing space and time for the magic moment to manifest and capturing that enchantment. I use my senses and current affairs to plot that path of serendipity especially when it's a mark of turbulence. The upheaval of balance is the key for chance and allows all unknown forces to contribute to the moment. I look inside myself, ground that emotion and imagine it in a dream because dreams are the foundation of emotion and the link to our sub-conscience. I try to clarify my nightly dreams subjectively with a cup of nostalgia in a bowl of emotions and sprinkle it generously with sex. It is there, the fountain of our instincts." Stefanie Schneider Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distils auratically charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangley alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the poor film stock emphazises the fragility of the icon even more. FlashART - Sabine Dorothee Lehner (translated from German by Michael Robinson)

Creator:
Stefanie Schneider (1968, German)
Creation Year:
1999
Dimensions:
Height: 22.84 in (58 cm)Width: 44.89 in (114 cm)Depth: 0.04 in (1 mm)
Medium:
Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
1990-1999
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU65238564602

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

Flora 01 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. All prints are produced to order. Lead times betwee...

Category

2010s Contemporary Nude Photography

Materials

Photographic Paper, C Print, Digital

Tortora & Travezan
Flora 01 - Contemporary Photography, Floral, Female Nude, Peonies, Tulips, Roses, 2015

$2,636

Blue Water Pistol - 29 Palms, CA, diptych

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Stefanie Schneider
Blue Water Pistol - 29 Palms, CA, diptych
1999

About the Item