Women Photography

English singer, songwriter and actress Marianne Faithfull, photographed at The Salisbury pub in London, 1964. Available in the following sizes. All prints signed and numbered by Ger...

Xie Kitchin as Dane is an original vintage photograph realized in 1873 by Lewis Carroll (Daresbury, January 27, 1832 - Guildford, January 14, 1898). Original albumen print on postcard; dimensions: 14 x 10 cm. N° 2132 "The Dane manuscript" was written by the author in pencil on the back. Provenance: Jeffrey Stern Bookseller York UK. Certificate of Athenticity: provided by the Original Gallery. Framed in a coeval frame. Mint conditions. Lewis Carroll (Daresbury, January 27, 1832 - Guildford, January 14, 1898) in 1873. This work depicts the figure of Xie (Alexandra) Kitchin as "Dane", a standing children with an elegant dress and headgear. Charles Lutwidge Dodgson (27 January 1832 – 14 January 1898), better known by his pen name Lewis Carroll, was an English writer of children's fiction, notably Alice's Adventures in Wonderland and its sequel Through the Looking-Glass. He was noted for his facility with word play, logic, and fantasy. The poems "Jabberwocky" and The Hunting of the Snark are classified in the genre of literary nonsense. He was also a mathematician, photographer, inventor, and Anglican deacon. Carroll came from a family of high-church Anglicans, and developed a long relationship with Christ Church, Oxford, where he lived for most of his life as a scholar and teacher. Alice Liddell, daughter of the Dean of Christ Church, Henry Liddell, is widely identified as the original for Alice in Wonderland, though Carroll always denied this. Scholars are divided about whether his relationship with children included an erotic component. In 1982, a memorial stone...

Poolside Fashions 1970 by Slim Aarons Slim Aarons Limited Estate Edition Guests by the pool at Nelda Linsk’s desert house in Palm Springs, California, January 1970. The house was ...

Capri Tan 1968, A kneeling sunbather shows off her rings and pendant on a beach in Capri, Italy 20 × 16 inches - paper size Estate Stamped Collection Edition to 150 Photo by S...

Meet me in front of Church 2 o'clock sharp (Sidewinder) 2005, 18 pieces, installed 154x379cm installed including gaps, 48x59cm each, Edition 4/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on 18 Polaroids, Certificate and Signature labels artist Inventory No. 30568.04, not mounted The series 'Sidewinder' was used by the Salzburger Festspiele 2008 for the main image campaign: Stefanie Schneider, Sidewinder Exhibit • Galeries of the City of Salzburg • Galerie am Mozartplatz July 16 – August 29, 2008 “For love is as strong as death” – this motto, taken from King Salomon’s Song of Songs, is at the programmatic center of the Salzburg Festival...

Archival pigment print, painted frame (Edition of 4 + 1 AP) Signed and numbered, verso This photograph is offered by ClampArt, located in New York City. Price includes mounting and ...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

Faun, 2018, Edition 1/7, 2 APs Based on an original Impossible film Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2018-168 Kirsten Thys v...

"French Economy" by Bert Hardy 14th June 1952: A young French girl holding a large loaf of bread while reading a sign about a possible decrease in bakery prices in the home town of ...

Limited Edition 5 More sizes on request The photographic work of the internationally well-known Austrian photographer Andreas H. Bitesnich is captivating by its beauty and aesthetic...

Poolside Bar 1980 by Slim Aarons Slim Aarons Limited Estate Edition Guests seen from a poolside bar at the Hotel Il Pellicano in Porto Ercole, Italy, August 1980 unframed c type ...

Edition of 7 more sizes on request A very atmospheric Photograph of a nude women in front of a tree in Spain. The hair of the model look exactly like the branches. Joachim Schmeisser is represented by leading Galleries worldwide. His photographs are among the most sought-after and best-selling works in this genre worldwide and earned him an ever-growing following amongst art collectors. With iconic portraits of Africa‘s big game, Joachim Schmeisser became world-famous, and his distinctive visual language, which brought him great international acclaim, earned him the prestigious Hasselblad Master Award in 2012. The timelessness and intimacy of his photographs are unique and characterized by a delicate sense of „greatness“ that transcends ordinary beauty and makes the concept of the „sublime“ palpable. He gives us the feeling of witnessing something infinite or unattainable, and his phenomenal lighting moods and incomparable compositions open up emotional levels that are difficult to put into words. Joachim Schmeisser‘s unique perspective on the world sets him apart and goes far beyond the usual image of nature photography, documentary, or action photography. He reveals to us a magical vision of our world with equal individuals in which we ultimately recognize ourselves. Joachim Schmeisser is among the most important artists in this genre worldwide. His books on Africa...

Bette (1931) Silver Gelatin Fibre Print (photo by Glasshouse Archive / Alamy Archives) Actress Bette Davis, Portrait by Jack Freilich, 1931. Additional Information: Unframed Paper Size: 10x12...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

"Kate Moss London" by Jake Chessum Portrait of a young 16 year old Kate Moss – before she shot to supermodel stardom and became the icon she is today. Jake grew up in Croydon, South London. He studied Graphic Design at St. Martins School Of Art, and started working as photographer straight out of college. Assignments for The Face, Arena, and an early ad campaign for “Neutrogena” featuring a 16 year old Kate Moss followed. By 1995 Jake was regularly flying the Atlantic on assignment for JFK Jrs' “George” Magazine and in 1999 he upped sticks and moved permanently to NYC where he still lives with his wife and 2 kids...

Rodney Pleasants, Alessandro Spicaglia, Pauline Cappa, Don C. Napolitano and Luigi Boscaln walking on the island of Capri, Italy, in August 1980. Slim Aarons Estate Edition, Certif...

Creator: Hatice Besun Creation year: 2025 Dimension: 20 x 34.7" External Dimension( with white border) : Height:35.5 inch Weight: 20.8 inch In Edition of 1/5 + 2AP Certified Conditi...

"A dark horse rearing up with stone formations and low clouds in the background In this black and white image, a mysterious dark horse rears up with unbelievable, otherworldly sands...

"Monroe At Premiere" by M. Garrett 1954: EXCLUSIVE Marilyn Monroe (1926 - 1962) arriving at the premiere of the film 'There's No Business like Sho...

Contemporary black and white portrait photograph by famous photographer Greg Gorman of model Echo Johnson in the Coral Pink Sand Dunes State Park in Utah. The work features Johnson l...

Come undone - 2019 50x50 cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, not mounted. Signed on the back and with certificate. Artist inventory...

Rapture - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-925. Not mounted. ...

Don't Give up on Us Baby (Till Death do us Part) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature...

11 x 14" vintage silver gelatin photograph of American Ballet Theatre dancer Ruth Ann Koesun, 1962. Comes directly from the Jack Mitchell Archives with...

Signed on recto. Vintage platinum print Image 5.75 x 7.5", Mount 6 x 8", Mat 16 x 20"

Candid black and white capture of Marilyn Monroe being interviewed at The Continental Hilton Hotel Mexico city, 1962. -- One-of-a-kind original vintage press print from the Celebrity Vault archives. Own a piece of history and kick-start your collection with our one-of-a-kind pieces of your favorite celebrities. -- "The Marilyn Monroe community was shocked and stunned at the untimely passing of truly one of the greatest Monroe sculptors of all time, Kim Goodwin...

Fernandel and Sylva Koscina: Photo taken during a filmset Le Confident de ces dames / Psicanalista per Signora France/Italy 1959 Directed by Jean ...

Bettina Graziani Bettina Graziani relaxes in a hammock on the Costa Smeralda, Sardinia, 1964. 20 x 20" - paper size Estate Stamped Collection Edition to 150 Photo by Slim Aar...

CZ by the Pool 1955 by Slim Aarons Slim Aarons Limited Estate Edition American socialite Mrs. Winston F. C. Guest (aka CZ Guest, 1920 – 2003) perches on the edge of the Grecian te...

Having A Topping Time Socialite Alice Topping relaxing at a poolside in Palm Beach. A Wonderful Time – Slim Aarons Paper size 20 x 20" inches / 51 x 51 cm Estate Stamped Collec...

Lake Tahoe Ladies A group of young women in their bathing suits on the Nevada side of Lake Tahoe, 1959. 60x60” / 152 x 152 cm - paper size Estate Stamped Collection Edition to...

Stay- 2024 25x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. inventory PL2024-22. Not mounted. ...

This is a new limited edition fine art release of a scene from the 1939 movie classic, The Wizard Of Oz This classic scene features the Scare Crow, Tin Man, Dorothy and Toto skipping...

Limited Edition 25 More sizes on request The photographic work of the internationally well-known Austrian photographer Andreas H. Bitesnich is captivating by its beauty and aestheti...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

Throbbing Gristle In Culver City (1981) - Silver Gelatin Fibre Print (Photo by Brian Duff/Daily Express/Express/Getty Images) circa 1968: Young m...

The Drugs Don’t Work By BATIK Archival pigment pop art print of the 1960s supermodel Twiggy signed & limited edition. BATIK is a London based fine artist and image maker. Produce...

10" x 7" Unframed Silver Gelatin Print Stamped by Estate

Norman Parkinson (1913-1990) was one of the Twentieth Century’s most celebrated fashion photographers. He pioneered epic storytelling in his images, taking portrait and fashion photo...

'Blonde Beauties' by George Freston From left to right, actresses Julie Christie, Ursula Andress and Catherine Deneuve attend a Royal Film Performance of 'Born Free' at the Odeon, L...

Crystal Ball - 2020 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-1001. Not...

Wrapped 2019, 20x20 cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019-804. ...

Candid capture of star actress Marilyn Monroe with French actress Simone Signoret. Marilyn Monroe was an American actress and model. Known for playing comic "blonde bombshell" chara...

Silver Gelatine Print by Erich Andres, ca 1960. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

Colorful nude portrait of a woman sunbathing, overshadowed by an airplane photographed by Toney Kelly. All prints are limited edition. Available in multiple sizes. High-end framing o...

Elegant color capture of star actress Marilyn Monroe posed outdoors in a sheer black dress, looking down to the camera. Marilyn Monroe was an American actress and model. Known for p...

Audrey’s most beloved movie is arguably Funny Face, in which she plays a bookish girl swept up in the world of fashion, taken under the wing of a magazine editor looking for a model ...

"Moroccan Boy" Portrait Photography 40" x 36" inch Edition 1/5 by Safaa Kagan From Sahara series 2018 ABOUT Safaa is a Los Angeles based photographer with a mission to dissolve ...

Mrs. Richards Darling, 2019 (diptych) [From the series Les Foxy Femmes] 20x20cm each, 20x45cm installed, Edition of 30. Archival pigment prints, based on two original Polaroids on...

Dolly Parton taken in 1999 by acclaimed photographer, Timothy White Signed limited edition, 11x14" image in 16x20" paper, edition number 25/25

My own private Travel Diary - Bishop, CA - Autumn - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

The photographers note regarding this work is "Woman with a fox terrier crossing a square, Germany 1930s." This work comes to you as a new Fine Art Print on Hahnemühle William Turne...

Underwater photograph of a naked woman Her young body on the red background and classic heavy breasts leave spectators speechless. It is particularly true for the big prints 44 by 58...

Underwater nude photograph of a young beautiful golden hair woman on black background. Her body is partially covered with a golden scarf leaving uncovered beautiful buttocks. Origi...

"Art is a Weapon" FRAMED Photography 30" x 44" in Edition of 7 by Brendan North Size framed: 34' x 44' in ABOUT: Brendan North is a fine art photographer based in Los Angeles. Havi...

Signed large scale photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Marmo di Carrara...

Hindsigh - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Not mounted. Signed on the back and with certificate. Artist inventory PL2021-1...

This is the original test print for selection to the 1998 Pirelli Calendar, shot by Bruce Weber. It's a very rare as it shows Elaine Irwin in her natural beauty before any retouching...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1 of 20 If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Patty Carroll has been known for her use of highly intense, saturated color photographs since the 1970’s. Her most recent project, “Anonymous Women,” consists of a 3-part series of s...