Stefanie Schneider Art

Cristal (Till Death Do Us Part) - 2005 49x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Room No. 503, II (Strange Love) - 2010 48x47cm, Edition 1/5. Analog C-Print hand-printed by the artist, based on the original Polaroid. Signature label and certificate. Artis...

Sundays (Heavenly Falls) - 2016 20x20cm, Edition of 10, Digital C-Print based on the Polaroid. Certificate and signature label, artist inventory number: 19502. Not mounted. Stefa...

Strange Math (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Certif...

Wind Power (California Badlands) - 2021 24x34cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 4595. Not mounte...

If I was a different Girl (Till Death do us Part) - 2005 48x58cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 94...

Something (Till Death do us Part) - 2005 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9445. Not mou...

Floaties (Beachshoot) - 2005 20x20cm, Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory # 1431. Not mounted. The Tooth of Time It is obvious that the photographer Stefanie Schneider has a background in film. All her pictures live from the dust-filled eroticism of American road movies. For Hitchhikers, the thirty-seven-year-old artist sent her protagonists into the desert. The air shimmers. Desert. A highway, massive autos, dusty kisses. One is familiar with these sorts of images from films, even if one hasn't yet seen this particular one. In any case, it seems to be older: The tooth of time has gnawed at the photos; they are discolored, strangely and incorrectly exposed, covered with white spots. False! The photographic series Hitchhikers was created this year; the photos got their patina because the photographer Stefanie Schneider only uses film which has passed its expiration date by up to five years, and which accordingly reacts to light in unpredictable ways. Where one's assumptions are correct is in the matter of the cinematic allusions: Schneider received a degree in film at the Folkwang-Hochschule in Essen and was a cutter for several years. In the USA, she was responsible for the scene photos in the feature-film debut (Everything put together) of Marc Forster (Monster's Ball, Finding Neverland) and out of tha collaboration developed her own photographic series Suburbia. Hitchhikers is similarly structured and actually consists of stills, in this case without the accompanying film: loosely staged pictures in which the protagonists have space for spontaneous improvisations. No plot, but moods which seem familiar to us. Schneider remarks that during the shooting she was thinking of Thelma and Louise. The series is marketed along with other works of Schneider by the Editions Galerie Lumas, the Galerie Caprice Horn in Berlin, and the Zurich gallery nd-projects. The Lumas branch in Munich is featuring Schneider in the exhibition Polaroid Movie through February 28, and starting on February 23 the feature film Stay runs, in which Schneider's pictures play a crucial role. And the thirty-seven-year-old artist, who lives alternately in Berlin and Los Angeles, continues to work on her filmography. At the moment she is developing along with Marc Forster a concept of transferring her typical photographic aesthetic into moving pictures...

Morning Glory (Till Death do us Part) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Ar...

The Games we played (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on a Polaroid. Certificate and Signature label, art...

Henry watching Athena Dance (Stay) - 2006 78x76cm, Edition 4/5 analog C-Print, hand-printed by the artist, based on the Polaroid Certificate and Signature label artist Inve...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 18420. No...

'Kirsten doing her Nails' (29 Palms, CA) - 1999 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist in...

Circle of Magic - from the 29 Palms, CA series - 2009 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and signature label. Art...

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 Invent...

Radha Shooting II (Long Way Home) - 1999 published in 'Stranger than Paradise' 128x126cm Sold out edition of 5, Artist proof 2/2, Analog C-Print, hand-printed by the artist, based...

Stefanie Schneider Polaroid sized unlimited Mini 'Fairy (Heavenly Falls)' - 2016 - signed in front, not mounted. 1 Archival Color Photograph based on the original Polaroid. Pola...

Living Room (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate...

Oleander (Life on Mars) - 2024 20x20m, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 22313....

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006 20x20cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signatur...

Blowin' In The Wind III (The Last Picture Show) - 2002, 38x37cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature ...

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....

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...

When would forever be a good time? part II (Till Death do us Part) - 2007, 20x24cm, Edition of 10, digital C-Print print, based on the Polaroid. Certificate and Signature label, ...

Stefanie Schneider's Minis Runaway (Haley and the Birds) - 2013 signed and signature brand on verso Lambda digital Color Photographs based on the Polaroid Polaroid sized open Editi...

Once we were Warriors (Stage of Consciousness) - 2007 from the 29 Palms, CA project. 58x56cm, Edition 1/5. Analog C-Print hand-printed by the artist, based on a Polaroid. Certifi...

Circle of Magic - Spellbound (29 Palms, CA) - 2009, 20x24cm, Edition 8/10. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #5919.08. ...

Autumn Drift (The Last Picture Show) 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist ...

Stefanie Schneider's Minis Party's over (Oxana's 30th Birthday), 2008 featuring Radha Mitchell Signed and signature brand on verso. Lambda digital Color Photographs based on a Polar...

Whisky and Water (Sidewinder) - 2005 - diptych 30x50cm including the white border, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label an...

The Betrayal - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #723. ...

Bedroom Plant (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certifica...

Buried (Stranger than Paradise) - 2003 Edition of 5 plus 2 Artist Proofs. 38x36cm each, 90x175cm installed. 8 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive P...

Fighting back the Darkness (Till Death do us Part) - 2005 20x20cm, Edition 9/10. Archival C-Print, based on the Polaroid, Certificate and Signature label. Artist Inventory No. 9...

Fairy (Heavenly Falls) - 2016, 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number: 1...

'Daisy on Bed' (Till Death do us Part) - 2005 38x47cm, Edition of 30 Archival C-Print print, based on the Polaroid, Certificate and signature label, ar...

From a long forgotten Dream (Chicks and Chicks and sometimes Cocks) - 2019 20x20cm, Edition of 10. Digital C-Print, based on the Polaroid. Artist inventory 21582. Signature label an...

Fly me to the Moon (Till Death do us Part) - 2005 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inve...

Leaving (Strange Love) - 2005 20x30cm, Edition of 10 plus 2 artist Proofs. Archival C-Print, based on a 35mm film. Signature label and certificate. Not mounted. Stefanie Schnei...

Orange Flowered Couch at Sunset (29 Palms, CA) - 1999 Edition 1/10, 20x20cm, Archival C-Print, based on a Polaroid Artist inventory Number 19762 Not mounted. Stefanie Schneider:...

Sunset (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 Inventory #958...

'A Wish II' (Circle of Magic) - from the 29 Palms, CA project - 2009 40x50cm, Edition 1/10 Digital C-Print based on the Polaroid. Certificate and signature label. Artist inventory...

'Austen and Daisy in front of Trailer II' (Till Death do Us part), 2005 - 128x126 cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid, Certific...

Fugitives III (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. 9363....

Circle of Magic - Elixirs (29 Palms, CA) - 2009 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

Leaving Town (Sidewinder) - 2005 80x80cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 3...

Palm Springs Palm Trees X (Californication) - 2019 78x76cm, Edition of 10, plus 2 Artist Proofs. digital C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

My Girl (Till Death do us Part) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #92...

Through the Veil (Oxana's 30th Birthday) - 2007 20x65cm including the white frame. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. C...

Tussle (The Princess and her Lover) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

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...

Soraya (The Princess and her Lover) - 2007 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival Print based on the Polaroid. Signature label and Certificate. Artist Inventory ...

Strange Love - triptych, 3 pieces - 2005 Edition 1/5, 80x80cm each, 80x260cm installed, including gaps, 3 analog C-Prints, hand-printed by the artist, based on the 3 original Pol...

Daisy and Austen in front of Trailer (Till Death do us Part) - 2005 Proof b4 Printing / 128x125cm signed, analog C-Print, hand-printed by the artist, based on the Polaroid, signed ...

The End of Love - Oxana's 30th Birthday (29 Palms, CA) - 2010 - Edition 1/10 , 20x24cm. Archival C-Print, based on the original Polaroid. Artist inventory Number 4898.13. Sign...

Male Nude (29 Palms, CA) - 1999 58x56cm, Edition of 10, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, matte surface, based on a Polaroid. Signature la...

150,000 Dollars (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Ce...

Dayworker (American Depression), diptych - 1999 Edition of 10, plus 2 Artist Proofs. 58x57cm each, 58x122cm installed including an 8cm gap in between both pieces. 2 analog C-Prin...

48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9309 Not mounted. Stefanie Schneider's...