Stefanie Schneider Art

Max, Trailer Park (29 Palms, CA) - 1999 Edition 3/10, 68x60cm including white 'Polaroid' frame. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Alum...

Horizon (Zuma Beach) - Malibu - 2004 38 x 37 cm, Edition of 5, Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper, based on the Polaroid. Artist in...

A Vision you can't Capture (29 Palms, CA) - 2007, Edition 1/5, 125x150 cm each, 3 pieces, installed 125x470cm. 3 Analog C-Prints printed on Fuji Archive Paper, hand-printed by th...

Untitled (Paradise) - 1999, 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. No...

The Heist - 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 #21978. S...

1 Stefanie Schneider Mini 'Self Portrait' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2016 10.7 x 8...

Sunscreen II (Beachshoot) - 2005 128x125cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label...

Fish (Stay) - 2006, 20x24cm, Edition 4/5. Archival C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the Polaroid. Signature label and cer...

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

Long Way Home (Stranger than Paradise) - 1999 3 x 50x49cm, installed with gaps 50x159cm. Edition of 10, plus 2 Artist Proofs. Archival C-Prints, based on 3 Polaroids Certificate...

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

Stefanie Schneider's art 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: Lila's Studio (Stay) with Noami Watts and Ewan McGregor - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 5109. 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...

Stefanie Schneider Polaroid sized unlimited Mini 'Max by the Pool' - 1999 - signed in front, not mounted. 1 Digital Color Photograph based on a Polaroid. Polaroid sized open Edi...

Wonder Valley (29 Palms, CA) - 2008 125x154cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, artist inventory nu...

Wonder Valley (29 Palms, CA) Installation by Stefanie Schneider. Dimensions: 250x400cm Video by Camille Waldorf. Song written & performed by Camille Waldorf. Text, song and video i...

Wavelength - 1999 Edition of 10, 20x20cm. Archival C-Print, based on the Polaroid. Signature label and Certificate. Not mounted. Stefanie Schneider: A German view of the Ameri...

'Salt'n Sea' (California Badlands) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid, Certificate and Signature label, artist Inventory No. 4536.08, Not mou...

Beloved (Stage of Consciousness) - 2007 65x80cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No...

I feel so alone! (Till Death do us Part) - 2007 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label. Artist Inventory No.8658 Not mount...

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: Brooklyn Bridge (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 2172. 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...

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

Life on Mars - 2022 Edition of 10, 40x30cm, Archival Fine Art Paper. Artist inventory E005. Signature label and Certificate. Not mounted. 'Life on Mars' series is part of my Desert Living Project, which encompasses all aspects of organic living including growing your own organic food, self sustainability and regarding the beauty and personality of farm animals and their welfare in an endeavor to connect human needs back to the sources of living. The full circle of Industrialization returns to the homestead.

Homestead (California Badlands) - 2010 20x24cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 10906...

Inside the Trailer (Sidewinder), 2005, Edition 1/5, 4 pieces, each 48x47cm, installed with gaps 48x207cm installed including 5cm gaps. Analog C-Prints, hand-printed by the artist, ...

Stefanie Schneider Polaroid sized unlimited Mini 'Planes' - 2001 - signed in front, not mounted. 1 Digital Color Photograph based on a P...

Rosegarden (Suburbia) - 2004, 60x80cm, Edition of 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid, mounted on Aluminum with matte UV-Projection. Artist I...

Breathing III (Deconstructivism) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on a Polaroid, Artist Inventory 15808. Signatu...

Palm Springs Palm Trees II (Californication) - 2016 100x100cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artis...

Oasis (Sidewinder), 2005 Edition 1/5, 16 pieces each 48x47cm, installed with gaps 220x220cm analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Archive Paper. Mou...

Officer's Wives Club (29 Palms, CA), diptych - 1999 Edition of 23/25, 40x40cm each, installed 40x87cm, including gap. 2 Analog C-Prints, hand-printed by the artist, based on the 2 Polaroids. Signed on back with Certificate. Artist inventory number: 316. Mounted on Aluminum with matte UV-Protection. 29 PALMS, CA is a film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert. The world depicted in the film is inspired by the photographs of German artist Stefanie Schneider in that it combines the notions of reality and fantasy and explores the resonance of both within a desert landscape and a transient culture. The characters portrayed in the film, (an actress, a singer, a DJ, a motel owner and his wife, a US army soldier, a mystic, a princess, a recluse, a movie ticket seller, two hitchhikers, a doctor, and so on), are to be played by both actors and non-actors. The story is constructed through the interpretation of real-life communications (i.e. phone calls, emails, conversations) that have taken place as the individuals depicted in the story try to make sense of events that have occurred in real life. In this sense, the story is, in part, a biography and social commentary, and the characters are the exaggerated alter egos of the individuals who play them. The structure of the plot is fairly simple. An actress working as a telemarketer is inspired by a singer who is new to town and is featured on the local radio station. The radio station runs a program for lonely hearts and a charismatic DJ uses the show to reveal the hopes and dreams of the town's “hottest women”. One night a panicked German female caller captivates the community with a painful story about a sexy “Smoke Jumper” (a mysterious and super real alpha male). Everybody in town is listening to the program and nobody is quite sure what to say. Life in general continues and we witness and explore the various interactions. The actress meets the singer and they become famous. The US Army soldier dies on his way to battle. The foreign princess discovers that the jewels she has come to sell are fake. The motel owner‘s wife has an affair with the pool boys and so on. All the while the community is united by their loyalty to the “Lonely Hearts” radio show and through the disturbing revelations of the German woman...

'Making out in Car' - Long Shot (Till Death do us Part) - 2005 20x20cm, sold out Edition of 10, Artist Proof 1/2. Archival C-Print print, based on the Polaroid, Certificate and Si...

29 Palms, CA - 1999 58x56cm, Edition of 10, analog C-Print, hand-printed by the Artist based on a Polaroid. artist inventory number: 636.04. Mounted on Aluminum with matte UV-Pr...

Amboy Salt Flats (California Badlands) - 2010 20x24cm, Edition of 10 plus 2 Artist Proofs. digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No...

Snow Silence (Stranger than Paradise) diptych - 2000 - Edition 3/5, 57x56cm each, 57x120 installed, 2 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, ba...

Playing in Heaven (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2...

Heather and Zeuss (The Girl behind the White Picket Fence) - 2013, 20x24cm, Edition 10/10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 13137.17. Not mounted, featuring Heather Megan Christie Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in 29 Palms, California, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. 

Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10 acre property is dotted with vintage trailers. They surround her mid century home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer named Heather, and played by Heather Megan Christie, 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. 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 the project 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. 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 couldn't travel to the desert. Filming took place in Spring 2011 and 2012. Schneider will submit the film to the Slamdance film festival 2018 and it was broadcast in 2013 by leading German television channel, Arte. For more information visit Stefanie's 29 Palms, CA project. Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne...

Time stands still (Chicks and Chicks and sometimes Cocks) - 2017 50x50cm, Edition of 2/10. Archival C-Print, mounted under matte Plexi, based on a Polaroid. Signed on verso with C...

Blue Sky (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20432. No...

Fairytales (diptych) - 2006, Edition of 2/5, 128x125cm each, 128x270cm installed, including gaps, 2 analog C-Prints, hand-printed by the artist, based on 2 Polaroids. Mounted o...

Vanishing Point (The Princess and her Lover) part of the 29 Palms, CA project - 2010 Edition of 1/5, 125x123cm. Analog C-Print, hand printed by the artist and based on a Polaroid....

Badwater - Memories of Green, quadriptych (four pieces), - 2003 Edition 1/5, each 58x56cm, installed with gaps 122x117cm, analog C-Prints, hand-printed by the artist on Fuji Crysta...

Dreamgirl II (29 Palms, CA) - 1999 Edition 2/10, 58x56cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte UV-Protection. Signe...

Untitled (Oilfields), triptych, 2004, 60x60cm each, installed 60x200cm, Edition 6/10. 3 Analog C-Prints, hand-printed by the artist based on 3 original Polaroids. Certificate and ...

Riviera (Malibu) - 2004 Edition 4/5, 39x37cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 668.04. Mounted on Aluminum with matte U...

Life on Mars (My Desert Living Project) 40x30cm, Edition 2/10. Archival Fine art Print. Artist inventory #E001. Signature label and Certificate. Not mounted. Life on Mars is...

Kaleidescope (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20434....

Radha and Max on Dirt Road (29 Palms, CA) diptych - 1999 Edition of 10, plus 2 Artist Proofs. 50x48cm each, 50x102cm together with gap. 2 Archival C-Prints, based on 2 Polaroids....

OK Corral - part 2 - (Stranger than Paradise) - 1999, 20 x 20 cm, Edition 5/10, Archival C-Print based on a Polaroid Artist Inventory 3182.18. Not mounted Stefanie Schneider's s...

Untitled (Stage of Consciousness) - 2007 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory N...

'Six Shooter' (Till Death do us Part) - 2005, 20x20cm, Edition 2/10, archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9076. Not mou...

Summertime (Malibu) - 2004 Edition 4/5, 39x37cm. Analog C-Print, hand-printed by the artist, based on a Polaroid. Artist inventory Number 660.04. Mounted on Aluminum with matt...

Untitled (Beachshoot) - 2005 128x125cm, Edition 4/5. Analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Signature label and Certifi...

Radha Mind Screen II (Stranger than Paradise), 1999, 20x20cm, Artist Proof 1/2, sold out Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist...

The Games we played (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, a...

Stefanie Schneider's Minis Dr. Pepper (Oxana's 30th Birthday) - 2008 Signed and signature brand on verso. Lambda digital Color Photographs based on a Polaroid. Sandwiched in between...

'Brandon' (California Blue Screen) Edition 3/5, 44x59 cm, analog C-Print, hand-printed by the artist, based on a Polaroid, Certificate and Signature la...

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. 363. Not ...

Light Blue Lingerie - however - (Wastelands) - 2003 57x56cm, Edition 4/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inve...