Stefanie Schneider Art

There is no Solution (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

Genial (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Number 269...

Girl in Motel (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist invent...

Untitled 01 (Saigon) - 2003 Edition 2/5, 57x58cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid. Artist Inventory Nu...

After the Storm (Zuma Beach) - 1999 20x24cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 206. ...

Untitled 05 (Oxana's 30th Birthday) - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inv...

How can you say that (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

White Picket Fence (Suburbia), diptych - 2004 Edition of 3/5, 60x80cm each, installed 60x170cm, Analog C-Prints, hand-printed by the artist, based on the 2 Polaroids, Mounted on A...

Stefanie Schneider's Minis 'Airstream' (29 Palms, CA) - 1999 signed and signature brand on verso Lambda digital Color Photographs based on a Polaroid Polaroid sized open Editions 1...

Sunflower (Musica Poetica) - 1997 44x59cm, Edition 4/10. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate ...

Cloudless Heavens (The Girl Behind the White Picket Fence) - 2013 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature ...

In The Range Of Light I (Wastelands) - 2003 Edition 3/5 , 57x56cm. analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventor...

Into Eternity (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 893. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...

Star Link (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1194. Signature label and Ce...

Wonder Valley (Sidewinder) - 2005 20x57cm, Edition of 10, plus 2 Artist Proofs. Archival Print based on the Super-8 footage. Certificate and signature label. Artist Inventory No ...

Boy with Silver Mask (Stay) - 2006 37x36cm, Edition of 30, Archival C-Print, based on a Polaroid. Certificate and Signature label artist Inventory #5606. Not mounted. Torsten ...

The Games we played (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...

Stefanie Schneider's Minis Cyclone (Stay), 2006 Signed and signature brand on verso. Lambda digital Color Photographs based on the Polaroid. Sandwiched in between Plexiglass (thickn...

The Valley - (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1233. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Published in: WASTELANDS, published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007), Stranger Than Paradise, Scott White Contemporary, San Diego, (S) (2012) Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids...

Last Season II - so I walked away from my Valley (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist invento...

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 ...

Lonely Longing (29 palms, CA) - 2013 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 16639. Not mounted. In Stefanie Schneider's evocative piece "Her Last Call," she presents a poignant scene featuring the talented actor Heather Megan Christie. The composition centers around a captivating image of Christie holding a red rotary phone...

House up in the Mountains (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1235. Signat...

Ok Fine (Beachshoot) - 2005 featuring Radha Mitchell 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artis...

Coke and Marlboro (Beachshoot) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #13...

Maxed Out (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Number ...

Jane is Dreaming (Heavenly Falls) - 2016 48x58cm, Edition of 10 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory num...

Feathered (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the original Polaroid. Signature label and Certificate Ar...

Stefanie Schneider's Minis Coney Island (Stay), 2006 Signed and signature brand on verso. Lambda digital Color Photographs based on the Polaroid. Sandwiched in between Plexiglass (t...

Dodger Stadium (The Last Picture Show) - 2000, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

Stefanie Schneider's Minis Gasoline III (Stranger than Paradise), 1999 Signed and signature brand on verso. Lambda digital Color Photographs based on the Polaroid. Sandwiched in bet...

Episodes of Dissociation (Till Death do us Part) - 2008 40x48m, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature ...

Prom Nights (Till Death Do Us part) - 2005 20x75cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. artist Inventory...

Memory Gaps (The Girl Behind the White Picket Fence) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Artist Inventory #13359. Not mounted. Offered is a piece from the movie: The Girl Behind the White Picket Fence. Written and directed by Stefanie Schneider A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in an old travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - 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 girl's 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 property in Morongo is dotted with vintage trailers. They surround her midcentury home and serve as sets for her photoshoots 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) and Larry Clark, who was a controversial fine art photographer before directing smash hit Kids—she does not see her future in Hollywood, directing blockbusters. Not necessarily. “I don’t think I want to make more films,” she says. “The actors were saying they would love to work with me again, and were asking if I would like to make other movies. But being on movie sets is far too stressful, and at least with this, I was in complete power of what was going on creatively. That said, if this gets a lot of acclaims…we can always think again. One should never say never.” Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne Randall...

A Man and a Woman - abstract in bathroom (Sidewinder), triptych - 2005 Edition of 10, installed 20x70cm including gaps, 20x20cm each. Digital C-Print, based on a Polaroid. Artist In...

Love (Stage of Consciousness) - 2007 part of the 29 Palms, CA project. Featuring Udo Kier and Radha Mitchell 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based...

A Rainy Day (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Art...

Jane (Heavenly Falls) - 2016 100 x 98 cm, Edition of 10, digital C-Print, based on a Polaroid Artist inventory 19503. Signed on verso and certificate Not mounted. Images 2-5 show...

The little Girl at the End of the Road (Musica Poetica) - 1997 44x59cm, Edition 4/10. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate a...

Blue Mountains (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1160. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Published in: WASTELANDS, published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007), Stranger Than Paradise, Scott White Contemporary, San Diego, (S) (2012) Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids...

Back Alley (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. Arti...

Untitled (Traintracks) - The last Picture Show - 2004 78x77cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Art...

Untitled (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist inventory N...

Tilted (Malibu) - 2004 57x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist. on Fuji Crystal Archive Paper, matte surface - Vintage Print. Based ...

Untitled (Oilfields), 2004 60x60cm, Proof b4 Printing, Analog C-Print, hand-printed by the artist, based on the original Polaroid, signed in front. Artist Inventory No. 1208. Not...

Breaking the Waves (Zuma Beach) - 1999 20x25cm, Edition of 10 plus 2 Artists Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist Inventory #110....

Dreamgirl (29 Palms, CA) 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate, Artist inventory number: 924. N...

Hans (Immaculate Springs) - 1998 Edition of 5, 58x57cm, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. ...

High Desert (29 Palms, CA) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Signature label and Certificate. Artist inventory Numbe...

Three Times a Lady (Till Death Do Us Part) - 2005, 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Stefanie Schneider's Minis - The size of a Polaroid. Untitled #9 (Beachshoot), 2005. Lambda digital Color Photographs based on a Polaroid. Signed and signature brand on verso. ...

White Picket Fence (The Last Picture Show) - 2006, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature labe...

The morning after (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, art...

Parallel Love (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inven...

Orange Flowered Couch (29 Palms, CA) - 1999 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artis...

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

'Untitled II' (Cricket on the Nose Scene) from the 29 Palms, CA series - 2009 56x56cm, Edition 1/5, analog C-Print, hand-printed by the artist, based on a Polaroid signed on verso,...

For Members only (Suburbia) - 2004 28x37cm, Edition of 10, digital C-Print based on the Polaroid. Signature label with Certificate, Not mounted. Artist Inventory # 400. THE GREA...

Rugged (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inventory num...

Randy and I (Wastelands) - 2003 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 1170. Signature label and Cer...