Stefanie Schneider Art
German, b. 1968
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 2018, 2019.
(Biography provided by Instantdreams)
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Artist: Stefanie Schneider
Across (Strange Love) - Polaroid, New York
By Stefanie Schneider
Located in Morongo Valley, CA
Across (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6145.
N...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Safari Inn (California Badlands) - Contemporary, Polaroid, Landscape
By Stefanie Schneider
Located in Morongo Valley, CA
The Safari Inn (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
California Depression (California Badlands) - Contemporary, Polaroid, Landscape
By Stefanie Schneider
Located in Morongo Valley, CA
California Depression (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inv...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Games we played (Till Death do us Part) - Contemporary, Polaroid, Women
By Stefanie Schneider
Located in Morongo Valley, CA
The Games we played (Till Death do us Part) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print print, based on the Polaroid.
Certificate and Signature label.
...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Polaroid, Color, C Print, Archival Paper
Wild Things (Till Death do us Part) Contemporary, Woman, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Wild Things (Till Death Do Us Part) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Polaroid, Color, C Print, Parchment Paper
Sunset (Oxana's 30th Birthday) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
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 ...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Plexiglass, Archival Paper, Photographic Paper, C Print, Color, Polaroid
Chicken Madonna (Chicks and Chicks and sometimes Cocks) - mounted
By Stefanie Schneider
Located in Morongo Valley, CA
Chicken Madonna (Chicks and Chicks and sometimes Cocks) - 2016
30x37cm,
Edition 1/10.
Archival Print on Dibond, based on the Polaroid.
Signed on back with Certificate.
Artist In...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, Color, Lambda, Polaroid
Dream No. 4 (Sidewinder) diptych - Analog, Hand-Print, Mounted, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Dream No. 4 (Sidewinder) - 2005
Edition 1/5,
157x128 each, installed 157x266cm.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper,
based on an expired Pola...
Category
Early 2000s Outsider Art Stefanie Schneider Art
Materials
Metal
Wild Things (Till Death do us Part) - Contemporary, 21st Century, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Wild Things (Till Death Do Us Part) - 2005,
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inven...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Archival Paper, Polaroid, Color, C Print
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
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.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2194.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Felix on Melrose Avenue, LA (California Blue Screen) - analog, vintage print
By Stefanie Schneider
Located in Morongo Valley, CA
Felix on Melrose Avenue, LA (California Blue Screen) - 1997
44x59 cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certif...
Category
1990s Outsider Art Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
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.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2197.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
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.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2196.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
April is the Cruelest Month - Contemporary, Landscape, Polaroid, Analog
By Stefanie Schneider
Located in Morongo Valley, CA
April is the Cruelest Month (Memories of Green) / (The Getaway) - 1999
58x56cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Arch...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Salton Sea Destruction I (California Badlands)
By Stefanie Schneider
Located in Morongo Valley, CA
Salton Sea Destruction I (California Badlands) - 2016,
40x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Arti...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, Black and White, Polaroid
Ancient Bridge Views III (Stay)
By Stefanie Schneider
Located in Morongo Valley, CA
Ancient Bridge Views III (Stay) - 2006
20x20cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2490.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
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 Schneider's art was the art both characters 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 paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Crack in the Wall (Till Death do us Part) - last Edition - Polaroid, Nude, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Crack in the Wall (Till Death do us Part), - 2005,
LAST EDITION
24x20cm, sold out Edition of 10, Artist Proof 2/2,
Archival C-Print, based on the Polaroid,
Certificate and Signatu...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Polaroid, Color, C Print, Archival Paper
Columbia Thinking (Stay) - Polaroid, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
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 Sc...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Bank of America I (The Getaway) - The Last Picture Show - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Bank of America I (The Getaway) - The Last Picture Show - 1999
58x56cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Headless (Stay) featuring Ewan McGregor
By Stefanie Schneider
Located in Morongo Valley, CA
Headless (Stay) - 2006
featuring Ewan McGregor
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Certificate and Signature label.
Artist Inventory #5084.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
Airstream trailer outside of 29 Palms - Polaroid, 21st Century, Landscape, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Airstream trailer outside of 29 Palms (Sidewinder) - 2005
50x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
A...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Take me to Heaven - Contemporary, 21st Century, Polaroid, Women
By Stefanie Schneider
Located in Morongo Valley, CA
Take Me to Heaven (Till Death Do Us Part) - 2005,
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Your Eyes on Me (Till Death do us Part) with Daisy McCrackin based on a Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Your Eyes on Me (Till Death do Us part) - 2005
40x39cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid,
Certificate and Signature label.
...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
For Your Eyes Only (Till Death Do Us Part) - Contemporary, Woman, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
For Your Eyes Only (Till Death Do Us Part) - 2005,
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist ...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Parchment Paper, Photographic Paper, C Print, Color, Polaroid
White Tank - My own Private Travel Diary
By Stefanie Schneider
Located in Morongo Valley, CA
White Tank (My Own Private Travel Diary), 1999
20x25cm,
sold out Edition of 10, Artist Proof 2/2.
Archival C-Print, based on the Polaroid
Certificate and S...
Category
1990s Contemporary Stefanie Schneider Art
Materials
Color, Archival Paper, Photographic Paper, C Print, Polaroid
Birdie (Stage of Consciousness) with Radha Mitchell
By Stefanie Schneider
Located in Morongo Valley, CA
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Austen in front of..' - signed
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Austen in Front of Trailer' (Till Death do us Part) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on t...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
C Print, Archival Paper, Color, Lambda, Polaroid
Once we were warriors III - Stage of Consciousness - starring Radha Mitchell
By Stefanie Schneider
Located in Morongo Valley, CA
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, C Print, Color, Polaroid
Summer Interlude II (Deconstructivism) - Contemporary, Expired Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Summer Interlude II (Deconstructivism) - 2020
- about the narrative potential of images.
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Art...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Radha in Leopard Dress (29 Palms, CA) - Contemporary, Figurative, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Radha in Leopard Dress (29 Palms, CA) - 1999
58x57cm.
Edition of 10, plus 2 Artist Proofs.
Analog C-Print, hand printed by the artist, based on the Polaroid.
Signature label an...
Category
1990s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled (City of Industry)
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (City of Industry) - 2004
38x36cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Certificate and Signatur...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Radha doing her Nails II - Figurative, Portrait, Polaroid, Photograph, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Radha doing her Nails II (29 Palms, CA) - 1999
Edition of 10,
50x49cm,
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist inventory 18391.
Not mount...
Category
1990s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Blue Pool (Suburbia) - Contemporary, Polaroid, Analog, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Blue Pool (Suburbia) 2004
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Signature label and Certificate.
Not mounted.
The project "Subur...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Shadow in my Life (Till Death do us Part) - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Silence and their words (Till Death do us Part) - 2007
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Art...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Daisy in Pool (Till Death do us Part) Contemporary, Woman, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Daisy in Pool (Till Death do us Part) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invent...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Polaroid, Color, C Print, Parchment Paper
Gestures - 21st Century, Polaroid, Portrait, Contemporary, Self Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Gestures (Stranger than Paradise)
Edition 1/5.
12 pieces, 48x46 cm each, installed: 207x155 cm.
12 Analog C-Prints, hand-printed by the artist,
mounted on Aluminum with matte UV...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Metal
And there she was... (Till Death do us Part) - 21st Century, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
And there she was... (Till Death do us Part) - 2005
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Certificate and Signature label.
Artist ...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Whisky and Water VI (Sidewinder) - Diptych, Polaroid, Nude, 21st Century, Color
By Stefanie Schneider
Located in Morongo Valley, CA
'Whisky and Water VI' (Sidewinder), diptych - 2005
Edition 1/5,
45x36cm each, installed 45x80cm including gaps.
2 analog C-Prints, hand-printed by the artist on Fuji Crystal Archi...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Metal
Rosegarden (Suburbia), analog, mounted
By Stefanie Schneider
Located in Morongo Valley, CA
Rosegarden (Suburbia) - 2004
Edition 1/5,
60x80cm.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Mounted on Aluminum with matte UV-Projection.
Artist Invent...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Above Water (Till Death do us Part) Contemporary, Woman, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Above Water (Till Death do us Part) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signa...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Parchment Paper, Photographic Paper, C Print, Color, Polaroid
Ruby (California Blue Screen) - analog
By Stefanie Schneider
Located in Morongo Valley, CA
Ruby (California Blue Screen) - 1999
Edition of 3/10,
44x59 cm
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
1990s Outsider Art Stefanie Schneider Art
Materials
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Untitled (City of Industry)
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (City of Industry) - 2004
38x36cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Certificate and Signatur...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, Archival Paper, C Print, Color, Polaroid
Love (Chicks and Chicks and sometimes Cocks) - Contemporary, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Love (Chicks and Chicks and sometimes Cocks) - 2018
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artis...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Purple Max (29 Palms, CA)
By Stefanie Schneider
Located in Morongo Valley, CA
Purple Max (29 Palms, CA) - 1999
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label
Artist Inventory #793.
Not...
Category
1990s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Wild Things (Till Death do us Part) Contemporary, Woman, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Wild Things (Till Death do us Part) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Parchment Paper, Photographic Paper, C Print, Color, Polaroid
The Dancer V (Stay) - the movie, expired Polaroid, analog hand made
By Stefanie Schneider
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Living by voices we shall never hear (Chicks and Chicks...)
By Stefanie Schneider
Located in Morongo Valley, CA
Living by voices we shall never hear (Chicks and Chicks and sometimes Cocks) - 2017
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Artist inv...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Still Good Friends (Suburbia) - Contemporary, Polaroid, Photography, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
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....
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Artificial Flowers - Contemporary, Landscape, Polaroid, expired, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
Artificial Flowers (Suburbia) 1999,
110x150cm,
Edition of 2/3.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the original Polar...
Category
1990s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century, New York
By Stefanie Schneider
Located in Morongo Valley, CA
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 Schneider's art was the art both characters 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 paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
49x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
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...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
On the Rocks - Contemporary, Figurative, Woman, Polaroid, Photograph, Landscape
By Stefanie Schneider
Located in Morongo Valley, CA
On the Rocks II (Long Way Home), 1999
58x56cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist,
based on the Polaroid,
Certificate and Signature la...
Category
1990s Pop Art Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunny Empire (Strange Love) - Polaroid, New York, Empire State Building
By Stefanie Schneider
Located in Morongo Valley, CA
Sunny (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6151.
No...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Hot Tub' (Heavenly..) - signed
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Hot Tub' (Heavenly Falls) - 2016 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid si...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
C Print, Archival Paper, Polaroid, Lambda, Color
Planes II (Stranger than Paradise)
By Stefanie Schneider
Located in Morongo Valley, CA
Planes II - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4653.
Not mounted.
...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Long Way Home II - with Radha Mitchel and Max Sharam
By Stefanie Schneider
Located in Morongo Valley, CA
'Long Way Home II' by Stefanie Schneider
(Stranger than Paradise) - 1999
49x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid,
Not mounted, Artist ...
Category
1990s Contemporary Stefanie Schneider Art
Materials
Photographic Paper, C Print, Color, Polaroid
For The Animals Shall Not Be Measured By Man (Chicks and Chicks...)
By Stefanie Schneider
Located in Morongo Valley, CA
For The Animals Shall Not Be Measured By Man - 2017
(Chicks and Chicks and sometimes Cocks)
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
...
Category
2010s Contemporary Stefanie Schneider Art
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Red Shoes (Stage of Consciousness) starring Radha Mitchell - 40x50cm, mounted
By Stefanie Schneider
Located in Morongo Valley, CA
Red Shoes (Stage of Consciousness) - 2007
40x50cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-print, based on the Polaroid.
Mounted on Dibond with matte UV-Protection.
Signed...
Category
Early 2000s Contemporary Stefanie Schneider Art
Materials
Metal
Stefanie Schneider art for sale on 1stDibs.
Find a wide variety of authentic Stefanie Schneider art available for sale on 1stDibs. If you’re browsing the collection of art to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of orange, green, blue and other colors. You can also browse by medium to find art by Stefanie Schneider in polaroid, paper, c print and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the contemporary style. Not every interior allows for large Stefanie Schneider art, so small editions measuring 3 inches across are available. Customers who are interested in this artist might also find the work of Jan C. Schlegel, Julia Beyer, and Amy Touchette. Stefanie Schneider art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $72 and tops out at $40,000, while the average work can sell for $691.
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Stefanie Schneider Abstract Photography
Stefanie Schneider Landscape Paintings
Stefanie Schneider Figurative Paintings
Stefanie Schneider Nude Paintings