Stefanie Schneider Color Photography
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.
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Artist: Stefanie Schneider
Jean Baptist's Dream Sequence - part 5 - (Sidewinder) - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Jean Baptist's Dream Sequence - part 5 - (Sidewinder) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Ce...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Something Imaginary (Heavenly Falls)
By Stefanie Schneider
Located in Morongo Valley, CA
Something Imaginary (Heavenly Falls) 2016
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
Artist invento...
Category
2010s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Mockingjay (Heavenly Falls) - Polaroid, Contemporary, Women
By Stefanie Schneider
Located in Morongo Valley, CA
Mockingjay (Heavenly Falls) - 2016
48x58cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Certificate and signature label.
Artist inventory number...
Category
2010s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ghosts (The Last Picture Show) - Polaroid, Photograph, Contemporary, Americana
By Stefanie Schneider
Located in Morongo Valley, CA
Ghosts (The Last Picture Show) - 2005
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist inventory 2...
Category
1990s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Seagull (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
Seagull (Zuma Beach) - 1997
38x49cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory # 203.
Not moun...
Category
1990s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
By the Sea (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
By the Sea (Zuma Beach) - 1999
38x49cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory # 198.
Not m...
Category
1990s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Lonely Heart's Radio Station, Wonder Valley - Polaroid, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
The Lonely Heart's Radio Station, Wonder Valley (The Girl behind the White Picket Fence) - 2014
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroi...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Asleep (The Girl behind the White Picket Fence) - Polaroid, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Asleep (The Girl Behind the White Picket Fence) - 2013
20x24cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory #16532.
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...
Category
2010s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Misty Watercolor Memories (Till Death Do Us Part) -Contemporary, Polaroid, Women
By Stefanie Schneider
Located in Morongo Valley, CA
Misty watercolor memories (Till Death do us Part) - 2005
50x58cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dreamlife of Angels (Till Death do us Part)
By Stefanie Schneider
Located in Morongo Valley, CA
Dreamlife of Angels (Till Death Do Us Part) - 2007
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Certificate and Signature label
artist I...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Irresistible (Strange Love) - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Irresistible (Strange Love) - 2007 -
48x60cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory N...
Category
2010s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunset (Stranger than Paradise) - Analog, hand-print, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Sunset (Stranger than Paradise) - 1997
44x56cm,
Edition 3/5.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Artist inventory Number 105.02.
Signature label an...
Category
1990s Contemporary Stefanie Schneider Color Photography
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Stop Bombay Beach (California Badlands)
By Stefanie Schneider
Located in Morongo Valley, CA
Last Stop Bombay Beach (California Badlands) - 2019
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist In...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
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 Color Photography
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, 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 Color Photography
Materials
Archival Paper, Photographic 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 Color Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Not a Through Street (Drive to the Desert) - analog hand-print
By Stefanie Schneider
Located in Morongo Valley, CA
Not a Through Street (Drive to the Desert) - 1999
44x59cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Signed o...
Category
1990s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Interstate 10 Overpass (Drive to the Desert) - analog hand-print
By Stefanie Schneider
Located in Morongo Valley, CA
Interstate 10 Overpass (Drive to the Desert) - 1999
44x59cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Signe...
Category
1990s Contemporary Stefanie Schneider Color Photography
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Spieglein, Spieglein (29 Palms, CA) - starring Udo Kier
By Stefanie Schneider
Located in Morongo Valley, CA
Mirror Mirror (29 Palms, CA) - 2007
20x20cm,
Edition of 55.
Archival C-Print, based on the Polaroid.
Certificate and signature label.
Artist Inventory #5771.
Not mounted.
In...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
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 Color Photography
Materials
Parchment 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 Color Photography
Materials
Archival 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 Color Photography
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 Color Photography
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunday, Late Afternoon, Ojai building rooftop (California Blue Screen) - analog
By Stefanie Schneider
Located in Morongo Valley, CA
Sunday, Late Afternoon, Ojai Building Rooftop
(California Blue Screen) - 1997
Edition 5/5,
44x59cm,
Analog C-Print, hand-printed by the artist, based on the Polaroid,
Certificat...
Category
1990s Outsider Art Stefanie Schneider Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Girfriends (Suburbia) - analog, featuring Radha Mitchell and Michele Hicks
By Stefanie Schneider
Located in Morongo Valley, CA
Girlfriends (Suburbia) - 2004
60x80cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the Pol...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Everything changes (Suburbia) - with Radha Mitchell - Contemporary, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Everything changes (Suburbia) - 2004
28x37cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Signature label with Certificate,
Artist Inventory # 1709...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
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 Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Green Field - Jean Baptist's Dream no. 3 - Sidewinder
By Stefanie Schneider
Located in Morongo Valley, CA
'Green Field' Jean Baptist's Dream no. 3' (Sidewinder) - 2005,
125x154cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, printed on Fuji Chrystal Archive paper, based on the ...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
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 Color Photography
Materials
Photographic Paper, C Print, Color, Polaroid
Cries and Whispers (Till Death do us Part) - triptych - Woman, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Cries and Whispers (Till Death Do Us Part) triptych - 2007,
20x24cm each, 20x80cm installed,
Edition of 10, plus 2 Artist Proofs.
3 Archival C-Prints, based on 3 Polaroids.
Cert...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Parchment Paper, Photographic Paper, C Print, Color, Polaroid
Sleep (Burned) diptych - Polaroid, Contemporary, 21st Century, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Sleep (Burned), diptych - 1999
Edition of 10 plus 2 Artist Proofs,
40x40cm each, 40x84cm installed.
2 Archival C-Prints, based on the 2 original Polaroids.
Signature label and Ce...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Ink, Archival Paper, Color, Archival Pigment, Polaroid
Untitled (Beachshoot) - Contemporary, Polaroid, Photograph, Women, Beach, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (Beachshoot) - 2005
48x46cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 18572.
Not mounted.
Beachshoot
These photographic fantasies are determined by carefully chosen constraints and the use of symbolic attributes. Telegraph poles, airplanes, vast wastelands, a train bridge or a 50s American car tell in the same manner different stories, as do lurid wigs, kids toys, a headscarf or an old super 8...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Party is over (Oxana's 30th Birthday) starring Radha Mitchell
By Stefanie Schneider
Located in Morongo Valley, CA
The party is over (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.
Arti...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Manhattan (Strange Love)
By Stefanie Schneider
Located in Morongo Valley, CA
Manhattan (Strange Love) - 2018,
43x39.5cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on a 35mm analog Negative.
Signature label and certificate.
Artist Invent...
Category
2010s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Angie (Suburbia) - Contemporary, Polaroid, Analog, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Angie (Suburbia) featuring Aussie actress Radha Michell - 2004
38x50cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Signature label with Certifica...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
She's gonna run like water through your hands - Contemporary, Polaroid, Women
By Stefanie Schneider
Located in Morongo Valley, CA
She's gonna run like water through your hands (Till Death do us Part) - 2005
48x47cm,
Edition of 10, plus 2 artist proofs.
Archival C-Print print, based on the Polaroid.
Certific...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Pray for the rain - Contemporary, 21st Century, Polaroid, Figurative Photograph
By Stefanie Schneider
Located in Morongo Valley, CA
Pray for the Rain (Till Death Do Us Part) - 2005
40x48cm,
Edition of 10.
Archival C-Print print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 9072...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
Rosegarden II (Suburbia), analog, mounted - 21st Century, Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Rosegarden II (Suburbia) - 2004,
Edition of 1/5,
60x80cm.
analog C-Print, hand-printed by the artist, based on the original Polaroid.
Mounted on Aluminum with matte UV-Projecti...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Metal
Stefanie Schneider Polaroid sized Minis - 'Immaculate Springs' - signed, loose
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's Mini
'Sitting Bull' from the movie Immaculate Springs - 1996
featuring Udo Kier
signed in front, not mounted.
Digital Color Photographs based on the Polaroid. ...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, C Print, Color, Lambda, Polaroid
Untitled (Traintracks) - based on a Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
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...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie on Sofa beaten (29 Palms, CA) - Analog, Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie on Sofa beaten (29 Palms, CA) - 1998
58x56cm,
Edition of 10,
analog C-Print, printed by the Artist, based on the Polaroid.
Signature label and Certificate,
artist invent...
Category
1990s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized Minis - 'Margarita' - signed, loose
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's Mini
Margarita (Till Death Do Us Part) - 2005
featuring Austin Tate
signed in front, not mounted.
Digital Color Photographs based on a Polaroid.
Polaroid siz...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, C Print, Color, Lambda, Polaroid
Zabriskie Point - Contemporary, 21st Century, Polaroid, Portrait
By Stefanie Schneider
Located in Morongo Valley, CA
Zabriskie Point (Stranger than Paradise) - 6 pieces - 2003
Edition of 10 plus 2 Artist Proofs.
20x20cm each, together with gaps 45x70cm.
6 archiva...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled (Sidewinder), analog - 21st Century, Contemporary, Polaroid, hand print
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (Sidewinder) - 2005
Edition of 5,
57x56 cm,
analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid.
Artist Inventory 3025.02.
Sig...
Category
Early 2000s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Lonely Plant (29 Palms, CA) - Polaroid, Contemporary, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
Lonely Plant (29 Palms, CA) - 1999
20x20cm,
Edition of 10,
Archival C-Print, based on a Polaroid
Artist inventory Number 19761
Signature and Certificate
Not mounted.
A German vi...
Category
1990s Contemporary Stefanie Schneider Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider color photography for sale on 1stDibs.
Find a wide variety of authentic Stefanie Schneider color photography available for sale on 1stDibs. If you’re browsing the collection of color photography 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 color photography, 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 Richard Heeps. Stefanie Schneider color photography 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 $38,500, while the average work can sell for $700.
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