Stefanie Schneider Art

Mojave Airfields (The Last Picture Show) - 2005 - 128x126cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist Inventory No. 695.03...

Memories of Love (The Girl Behind the White Picket Fence) - 2013 Edition of 5 plus 2 Artist Proofs, 128x125cm. Analog C-Print, hand-printed by the artist based on the Polaroid. ...

Dreamscape (Wastelands), 2003 128x125cm Edition 4/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper. Artist inventory No. 1152.17. Not mounted. The se...

Once We Were Warriors - 2007 20x20cm. Sold out Edition of 5, Artist Proof 2/2, LAST PRINT. Archival Print, based on the Polaroid. Certificate and Signature label. Artist Inven...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. Athena and Henry (Stay), from Ryan Gosling's memory sequence, - 2006, 56x55cm, Edition 1/5. Analog C-Print, printed by the artist on Fuji Archive Crystal Paper, matte surface, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 2428.01. Not mounted. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

Radha Mind Screen (29 Palms, CA) - 1999 128x125cm, Edition 5/5, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper Based on the Polaroid, Certificate and Si...

Daisy in front of Mirror (Till Death do Us part) - 2005 Edition 2/5, 128x125cm, Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature label and C...

Yellow Flower (The Last Picture Show) - 2005 128x125cm, Edition of 5, analog C-Print, based on a Polaroid, hand-printed by the artist on Fuji Crystal Archive Paper. (matte) Arti...

This is where we meet (Last Picture Show) - 1999 Edition of 2/5 , 58x56cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Signat...

Day Worker (American Depression) - 1999 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist, on Crystal Fuji Archive Paper, based on the Polaroid. Artist inventory...

Gasoline II (Stranger than Paradise) 1999 - 3 pieces, each 128x125cm, installed 125x295cm including gaps. sold out Edition of 5, Artist Proof 1/2 Analog C-Prints, hand-printed by...

Kirsten in front of Charlie's house (California Blue Screen) - 1997 Edition of 3/5, 44x59 cm Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Si...

Lollipop (Beachshoot) - 2005 80x80cm, Edition 1/5. Analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Under glass with a white wooden...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

The way we were (Till Death do us Part) - 2005 48x58cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9088. No...

Snap–15 Minutes of Fame (Wastelands) - 4 pieces, 2003 Edition of 5, 105x100cm each, 220x220cm installed. Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

Malina (Stranger than Paradise) - 1997 43x59cm, Edition of 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Invento...

The Girl II (The Girl behind the White Picket Fence) - 2011 128x125cm. Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and certif...

The way we were (Till Death do us Part) - 2005 20x24cm, Edition of 10, archival C-Print print, based on the Polaroid Certificate and Signature label...

The other day I was sure I knew what is good and what is bad (The Girl behind the White Picket Fence) - 2015 20x20cm, Edition of 10, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 13866. Not mounted. Offered is a piece from the movie: The Girl behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girls journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10 acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004, when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck, if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love...

Yellow Flower (The Last Picture Show) - 2005 78x76cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Artist Inventory 672. Not mounted. published...

A Vision you can't Capture (29 Palms, CA) - 2007 125x172cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, signatur...

The other day I was sure I knew what is good and what is bad (The Girl behind the White Picket Fence) - 2015 50x50cm, Edition of 10, plus 2 Artist Proofs. Digital C-Print, based o...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

Meeting in front of Church (Sidewinder) - 2007 Edition 2/5, each 30x37cm, installed 30x160cm. 4 analog C-Prints, hand-printed by the artist, based on the 4 oirginal Polaroids. Ce...

Sisyphus (The Girl behind the White Picket Fence) - 2013 98x97cm, Edition 1/5, analog C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label Arti...

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...

Salton Sea Life (American Depression) - 1999 58x56cm. Edition of 10, plus 2 Artist Proofs. 1 analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label an...

Girls (Till Death do us Part) - 2005, 24x20cm, Edition of 10, digital C-Print print, based on an original expired Polaroid. Certificate and Signature label. Artist Inventory No....

So Still (Sidewinder) - 2005 - 78x80cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist Inventory ...

Bells Ringing (Sidewinder), 2005 - Edition 2/5, 104x424cm (installed), each piece 48x46cm, 16 analog C-Prints, based on 16 expired Polaroids, hand-printed by the artist on Fuji ...

Whisky Dance (Sidewinder) - 2005 - Edition 2/5, 8 pieces installed including gaps 172x338cm, 82x80cm. 8 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, ...

Blue Sky Palm Trees (Sidewinder) - 2005, 128x125cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on a Polaroid. Certificate and...

Tropics Motor Motel II (Memories of Green) - 1999 Edition 1/10, 58x56cm. ANALOG C-Print, hand-printed and enlarged by the artist Stefanie Schneider on Fuji Crystal Archive Paper, ...

Zabriskie Point (Stranger than Paradise) - PART IV - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. ...

Tangerine Dream (Stage of Consciousness) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6289 Not mou...

Kaleidescope (Zuma Beach) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #204304 Not mounted. Stefa...

The Light (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3079 Not mounted. Stefanie S...

X-Rayed (Back in the 80's) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #354 Not mounted. Stefani...

Palm Springs Palm Trees VI - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #22163 Not mounted. Stefa...

Mayfair Lane, #01 (The last Picture Show) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1035 Not mo...

Untitled (Beachshoot) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 1400. ...

Like the Wind II (Till Death Do Us Part) - 2008 23x53.5cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 2 original Super-8 Stills. Certificate and Signatur...

Jimi Hendrix Palm Trees (Californication) - 2016 20x20cm, Edition 7/10. Archival C-Print, based on the Polaroid. Certificate and Signatur...

Interstate Flashback (Vegas) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #557 Not mounted. Stefa...

Exxon - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # Not mounted. Stefanie Schneider's scintillat...

Village Motel - heated Pool (The Last Picture Show) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1...

North Shore Mirage (California Badlands) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #18078 Not mo...

How can you do this to me? (Till Death do us Part) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #88...

Abstract I (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3804 Not mounted. Stefanie...

She need not move (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3298 Not mounted. St...

Saigon (Stranger than Paradise) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #463 Not mounted. St...

Palm Springs Palm Trees IX (Californication) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #22325 No...

Untitled (Beachshoot) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #1456 Not mounted. Stefanie Sc...

Salton Sea Palm Tree (California Badlands) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #19400 Not ...

Male Nude (29 Palms,CA) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #293 Not mounted. Stefanie S...

Chronometry (Stage of Consciousness) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6426 Not mounte...