Gifts For Him 2014

This photograph titled "My Shirt, My City" 1970 is an original gelatin silver print by famous German photographer and artist Michael Andreas Russ, born 1945. It is signed, titled an...

This photograph titled "Frank Horst, Hamburg 1989" is an original gelatin silver print by famous German photographer and artist Michael Andreas Russ, born 1945. It is signed, titled...

Haley and the Bird (29 Palms, CA) - 2013 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Certificate and signature label. Artist inventory ...

Sunset (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 20x25cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label with ...

Radio Show (The Girl Behind the White Picket Fence) - diptych 40x95cm including the white frame, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the 2 original Pola...

The Letter (Till Death Do Us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist...

Untitled (Beachshoot) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 1456. Not ...

'Untitled' 2013, Edition of 10 plus 2 Artist Proofs, Digital C-Print, based on a SX70 B&W Negative Scanning, not mounted, 8.5cm x 8.5cm, not mounted, Signed, embossed stamp and artis...

The Party is over (Cyndi Lauper) from the 'Bring Ya to the Brink' record Album) 2009, 20x20cm, Edition 5/5. Archival C-Print based on a Polaroid. Certificate and signature label...

Look Away Lucifer (2019) E Edition of 10 - 20 x 20 cm. Archival C-Print based on the Polaroid, not mounted. Signed on back and certificate. In part influenced by 1970s Italian Gia...

Joshua Tree National Park (29 Palms, CA) - 1997 44x59cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate and Signature lab...

Interlude (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory # 7972. Not mounted. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen...

Untitled (Cricket on the Nose Scene) from the 29 Palms, CA series - 2009 20x20cm, Edition 10/10, Archival C-Print based on a Polaroid. Certificate and signature label, artist in...

'Vantage Point' 2019, 20x20cm, 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 PL219-687...

Thirteen (Till Death do us Part) - 2005, 20x24cm, Edition 1/10, Digital C-Print print, based on a Polaroid. Certificate and Signature label, artist Inventory No. 9514.01, not mou...

Posing I (Wastelands) - 2003 Edition of 10, 38x37cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No 117...

Treasure II (Stage of Consciousness) 29 Palms, CA, 2007, 75x93cm, Edition 3/5. Analog C-Print printed on Fuji Archive Paper, hand-printed by the artist, based on a Polaroid. Sign...

Big Girls don't Cry (Heavenly Falls) - 2016 - 50 x 50 cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on an expired Polaroid. Artist inventory 19642. Signature l...

Unknown Girl 01 - Street Portraits (Stranger than Paradise) - 1999 Edition of 10, 40x40cm. Archival Print, based on the Polaroid. Signature label and Certificate. Artist Invento...

Red Roses (Oxana's 30th Birthday) - 2007 from the 29 Palms, CA project 24x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label with ...

Untitled (Beachshoot) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 21337. Not ...

Radha Shooting I (Long Way Home) - 1999 38x36cm, Edition of 30, Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory #254. Not mounted. ...

Pray for the Rain (Till Death Do Us Part) - 2005 40x48cm, Edition of 10. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9072...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

Gabriela at eleven - 2019 25x31cm, Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back...

In this box scented with wild Strawberry flavour I hand folded my Strawberry story into an exclusive leporello This is number 2/3 Digital color print based on a series of original Polaroids
on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% cotton by HAHNEMÜHLE Signed and numbered. 156cm x 15cm The leporello is comfortably wrapped in a latex sheet rubbed with freshly picked strawberries and sprinkled with home made golden shower...

The Games we Played (Till Death do us Part) - 2005 100x98cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artis...

Radha doing her Nails by the Pool (29 Palms, CA) - 1999 126x125cm, Edition of 5, analog C-Print, hand-printed by the artist, based on a Polaroid, Certificate and Signature label,...

Reflections of Love (2019) Edition of 10 - 40x40 cm Digital C-Print based on a Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clar...

Gil at 14 - 2021 - 60x50cm, Edition of 5, plus 2 Artist Proofs. Archival Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not...

Birdie (Stage of Consciousness) - 2007 featuring Radha Mitchell from the 29 Palms project 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. C...

Innocence (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory...

American Pie (Oxana's 30th Birthday) - 2007, from the 29 Palms, CA project - 78x76cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label...

Rapscallion (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Invento...

Golden - Shot 2019 on 600 film In part influenced by Australian New Wave Cinema and films such as Walkabout, The Last Wave and Picnic at Hanging Rock where the protagonists are profo...

Untitled (Traintracks) - The last Picture Show - 2004, 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Ar...

Hex - Shot 2019 on 35 MM Film Influenced by Italian Giallo, and Argentos Le Tre madri The Three Mothers trilogy. Edition of 10 - 20 x 20 cm - Digital C-Print based on a on a Polaro...

Untitled (Traintracks) - The last Picture Show - 2004, 38x37cm. Edition of 5, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Signature label and Certificate. Artist...

The Tears we cried (Till Death do us Part) - 2005, 20x24cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 8648. No...

Hospital Ward (Suburbia) - 2004, 20x24cm, Edition of 10, digital C-Print based on a Polaroid. Certificate and signature label. Artist Inventory No. 433. Not mounted. This p...

No Effects (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 48x60cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature...

Julia (2011)
 - from the series 'I am not promising a wonderful World' 50 x 75 cm, Edition of 1/10 plus 2 Artist Proofs. Digital Photography printed on Canson Barita 310gr (not mount...

Locker Room (Suburbia) - 2004 50x50cm, Edition of 10, Archival C-Print based on a Polaroid, Not mounted, Certificate and signature label. Artist Inven...

Runaway Lovers (Till Death do us Part) - 2005 20x24cm Edition of 10. Archival C-Print print, based on the Polaroid, Certificate and Signature label. Artist Inventory No. 9366.01. No...

The Drawing Room (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist In...

Untitled from the Dwell Series, 2018, Edition 1/10 plus 2 Artist Proof, 24x20cm, Digital Print based on a Polaroid photograph on Hahnemühle photo rag paper, not mounted. Signature l...

Untitled - 2014, 20x24cm, Edition of 1/10. Digital C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certi...

Untitled 09 (Oxana's 30th Birthday) - 2007 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist I...

Untitled (Cathy and Shannon) - 2004 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 477...

Amaluna's Day Off Number 29 - 2016 [From the series Cirque du Soleil] 80x80cm, edition of 5, Digital archival pigment print 
based on an original Polaroid
 on beautiful PHOTO RAG ® ...

Playing (Suburbia) - 2004 20x24cm, Edition of 10, digital C-Print based on a Polaroid, Signature label and Certificate. Artist Inventory No. 1665. Not mounted, This project "Su...

I'm over it (Till Death do us Part) - 2007 - 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 8509, not m...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

'Penelope' from the movie Immaculate Springs - 1998 Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artis...

The Enlightened Philosopher [From the series Famous in Flanders] - 2010 20x16cm, Edition of 30. Giclee archival pigment print on PHOTO RAG ® ULTRA SMOOTH paper
305gsm, 100% cotton...

Love Scene against the Wall (Sidewinder), 2007 Edition 1/5. 4 x 57x56cm, 57x249cm installed with gaps in between the pieces. 4 Analog C-Prints, hand-printed by the artist on Fuji ...

Behind the veil - 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 PL2020-912. Not m...

In the Net of Life and Time (Chicks and Chicks and sometimes Cocks) - 2017 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist inventory 2...