Stefanie Schneider Portrait Photography

Waiting II (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature ...

Waiting (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based...

No Causes (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, bas...

No Causes (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature l...

Bombay Beach Pirates (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 30x40cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. ...

No Middle (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, bas...

Alphabet Soup (Till Death do us Part) - 2005, 128x127cm, Edition 2/5, analog C-Print, hand-printed by the artist. based on the Polaroid. Artist Inventory No. 9283.02. Mounted o...

Desert Center (Stranger than Paradise) - 2000 Edition of 10, 48x60cm. Archival Print, based on the Polaroid. Mounted on dibond with matte UV-Protection. Signature label and Certificate. Artist Inventory No. 534. Published in Stranger than Paradise, Hatje Cantz (monograph) Stefanie Schneider: A Discovery on Polaroid. An essay by Eugen Blume How is it that the photographic works of Stefanie Schneider do not allow anything other than one single association, namely that of America? Because they were taken in America itself? That fact alone would not yet be a compelling argument. Many photographs of America possess a reckless ambivalence which allows even the different country of their own particular creator to seem so similar as to be confused with America itself. Does this ambiguity have something to do with the ongoing, accelerating Americanization of the entire world? Or is it simply connected with our personal clichés which we attribute to a country the size of North America as valid expressions of its very essence, thereupon negligently allowing it not only to dwindle down into any size whatever, but also to expand to a great extent, from Germany by way of Luxembourg right through to Japan? Now it is certainly true that the figures of Thelma and Louise in the desert do not represent an American reality, not even after their resurrection as Radha and Max in the series 29 Palms from 1999. Strangely enough, it is nature which allows this utterly artificial scene to grow into an American verity. The harsh sunlight in the barren landscape establishes the fundamental tone out of which the women emerge in excessive hysteria from beneath their colored wigs. It is inherently absurd to celebrate the feminine aspect in the middle of a mercilessly inhospitable environment. The image of the two women is a monument of resistance, the meaningful assertion of a lifestyle which stands in contradiction to each and every convention. The pictorial structure and the captured movement along the edge of the format are a means of blending the glaring luminosity with the plot in a manner which perhaps functions successfully only in the “simple” instant technique of the Polaroid. Stefanie Schneider’s pictorial narratives are striking in their formal elegance. She utilizes the chemical faults of the Polaroids, their tendency towards overexposure and double-images as a sovereignly controlled means of artistic design. The defects become, as it were, metaphorical levels which plumb depths lying far beneath the surface. The overly bright colors and schlieren seek out the uncanny; they provide a counterweight to a narration that is deliberately kept superficial. They tell of an invisible strand. They illuminate, in the truest sense of the word, underground processes. Although we are familiar with a series featuring American flags which could not indicate the site of its narrations any more clearly, nevertheless there remains a fundamental doubt as to whether the initially described association with America is identical with that which we deem to be America in a geographical sense. Although I have in the meantime been in America several times, in both South and North America, deep down I remain uncertain as to whether the New World actually exists. Columbus’ error of continuing to believe, even when having arrived on land, that he was encountering the India which was the actual goal of his journey has burrowed down deep into the European unconscious as a cultural convention. Peter Bichsel’s amusing story “Amerika gibt es nicht” (There is no America) still remains today an undeniable truth: America’s northern half is a film, not a continent. Everything which signifies the U.S.A. – from the Indians, whose most noble savages were invented in Europe, all the way to September 11th and the subsequent war in Iraq, the aliens and the revival of the dinosaurs, the terminators as governors and presidents as actors and vice versa, the electric chairs, the godfather Marlon Brando and the eternal singer Bob Dylan, the neurotic Woody Allen, Velvet Underground and Andy Warhol – all this is an invention of the media. Everything that I know about America has been conveyed to me by Hollywood films. My trip into this fictional wonderland, this country where nothing seems impossible, began with a landing at Kennedy Airport, along with a list of questions investigating my existence up to that point in time and inquiring whether I belonged or belong to any Communist organization. There went by three long hours of waiting, without my having seen anything that was actually real, among variously colored passengers until there was a call to board my flight to Houston, Texas, the destination of my first trip to America. The airplane traveled for an endless stretch of time just to reach the take-off runway and thereby crossed bridges under which dense auto traffic flowed ceaselessly towards somewhere, like a never-ending caravan. My little onboard window was nothing more than a monitor tuned to one of the many road movies at which I gazed in boredom. Finally the machine came to a standstill and the massive doors were opened, warm air hung heavily amid functional concrete buildings and a few palms: I was in the southern region of North America. In front of the airport was the usual scene from the beginning of a film viewed hundreds of times: yellow cabs with black drivers. Along the highway to Houston, seen from car windows that were once again nothing more than monitors, there rose up upon high poles to the right and left vastly oversized, widescreen-formatted billboards advertising everything that for a long time now we in Europe have internamericalized: Coca-Cola in an immediate love-hate relationship to Pepsi, the successful taste plagiarizer, McDonald’s, cornflakes. Concrete streets above and below me, in the distance the skyline of Houston set against the background of the desert: high-quality Cinemascope. Spontaneously there came to mind the first scenes of Tarkovsky’s Solaris, that never-ending stretch of concrete, filmed from within the automobile which, remotely controlled, brings its passenger somewhere, anywhere, just not into reality. I didn’t understand the first Texan whom I met; the ponderous dialect, spoken in the interior of his mouth, was not compatible with my knowledge of English. America was not only a film but also a collection of clichés. In the evening I attended the opening of an museum exhibition, which was the actual reason for my journey: rich women wearing fur coats in approximately thirty degrees Centigrade; first the buffet, then the art; no wordily wandering speeches, but rather everything economically tailored to momentary pleasure and external appearance. Modern Houston was nothing more than a city of offices; the last skyscrapers in the series already end in the desert sand; some are nailed up and carry signs of warning: “Contaminated with Asbestos.” In the bus I am the only white person among variously hued immigrants from South America or scions of long-established families of former slaves, and I myself am marveled at like a strange, stray soul. In search of the DeMenil Collection amid endless single-family dwellings, there was the usual action scene: an identity check, police vehicles outfitted with sirens and sporting double, revolving lights upon their roofs, the role of the sheriff well cast, a successful sequence filmed on the first take and put right in the can. I am not given any trouble with my status as a European, such as can easily be seen from my passport. The whole atmosphere is friendly, suffused with an almost unbelievable amicality. The colleagues in the Museum of Fine Arts, an astounding universal museum with artworks ranging from antiquity all the way to the present and a Mies van der Rohe building extension, are enthusiastic about my idea of traveling on to California as soon as possible. Beneath me a nature film presented by National Geographic, the Grand Canyon, red cliffs of incredible dimensions, somewhere Death Valley and Hollywood, to which I owe so much. In San Francisco friends are waiting for me at the airport, two American biographies such as are only written here. Everything is just as I know it, the soundtrack is right on the money: Crosby, Stills, Nash and Young, and up further in the surf, the Beach Boys. The Golden Gate Bridge in fog, the wonderful district of Sausalito, and far across the bay the city of Oakland. A paradise of hippies, twenty degrees Centigrade as the average annual temperature. William Seward Burroughs is reading in a bookshop, Alan Ginsburg, and somewhere Patti Smith is singing. I do not intend to write here about my next destination, New York City, not about the wonderful people who were my hosts, not about Mildred the pianist, who worked with John Cage, not about her husband, the painter who was friends with Alexander Calder… When I recall this first trip to America, my images are strangely blurred in their colors, and the sharply focused photographs which I have kept among many useless ones convey nothing of that which remains in my head. I think back to the magical places, just like to the inhospitable ones, from a certain aesthetic perspective, and it is this very aesthetic which I rediscover in the pictures of Stefanie Schneider. Tales of America, a discovery on Polaroid. Basically we know nothing about how our remembered images in fact look; we believe that we recall pictures and we tell of images which nocturnal dreams implant in our brains, but we would have great difficulty in specifying their actual form. From time to time we consider ourselves to have seen distinct pictures, but mostly we think of blurred appearances, more of shadows than of sharp contours. For her part, Stefanie Schneider as a native German sees her chosen country of residence as if in a dream. She stages a land which does not exist, a land of visions and spirits. During 2005 in the film Hitchhiker and in the photo series Sidewinder, she tells about love in terms of the hippie clichés of the 1960s: the long-haired girl with no makeup together with the preacher in a trailer amid the eternal heat, God’s warm canopy above California, Jack Daniels as the celebratory wine of the mass, the Colt revolver...

'Penelope' from the movie Immaculate Springs - 1998 Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artis...

Day Worker (American Depression) - 1999 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist, on Crystal Fuji Archive Paper, based on the Polaroid. Artist inventory...

Dream girl (Stranger than Paradise) - 2000 Edition of 10 3 x 58x56 x 0.1 cm, 58 x 188 cm installed. 3 Analog C-Prints, hand-printed by the artist. based on the 3 Polaroids. Signat...

The Map (Stage of Consciousness) - 2007 20x24cm, Edition of 10, Archival C-Print, artist Inventory Nr. 7709.01 Certificate and signature label, Not mounted, featuring Udo Kier. ...

LAST EDITION 'Radha Pink' (29 Palms, CA) - 1999 58x56cm, Edition of 10, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, not mou...

Making out in Car (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 arti...

Pool Side (29 Palms, CA) - 1999 Edition 5/5, 20x20cm. Archival C-Print, based on the Polaroid. Artist inventory Number 619. Signature label and Certificate. Not mounted. A Ge...

Zabriskie Point (Stranger than Paradise) - PART II - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. ...

'Penelope' from the movie Immaculate Springs - 1998 58x57cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature Label ...

Whirling silently in Space (Heavenly Falls) - 2016 100x125 cm, Edition of 10, Archival C-Print, based on the Polaroid. Mounted on Aluminium with matte UV-Protection. Artist invent...

The Muse (29 Palms, CA) - 2009 38x37cm, Edition of 5, Artist Proof 1/2, analog C-Print, hand-printed by the Artist, mounted on Aluminum with matte UV-Protection, based on the Pol...

Transformation (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted, Signature label and Certificate. Artist Inventory No. 1675.01. Th...

Untitled (9/11) - 2001 Edition of 5, 38x37cm. Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inventory number: 1542. Signature label and certifi...

When I was with my goat (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

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...

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

Marlboro (Stranger than Paradise) - 1997 38x47cm, Edition of 30, Archival C-Print based on the Polaroid, Not mounted, Signature label and Certificate, artist Inventory Nr. 127...

Randy and I, part 2 (Wastelands) - 2003 57x56cm, Edition of 5, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper. Based on the Polaroid, Artist inventory Num...

Afternoon Drifter II (The Last Picture Show) - 2006 58x57cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based o...

Radha Shooting II (Stranger than Paradise) - 1999 38x36cm, Edition of 30. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory #259. Not mo...

Untitled (Beachshoot) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 21398. Not mounted. Beach shoot 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...

What happened yesterday? (The Girl behind the White Picket Fence) - 2013 - 20x24cm, Edition of 10, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inv...

'Penelope' from the movie Immaculate Springs - 1998 Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artis...

Kirsten smokes (29 Palms, CA) - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate. Artist invento...

Duet (Till Death do us Part) - 2016 50x50cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9441. Not mounted....

The Games we played (Till Death do us Part) - 2005 60x60cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

The Existence is disintegrating into the Heat of the Desert Sirocco (The Girl behind the White Picket Fence) - 2015 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Prin...

Our desert is the fucking palace of pussy, darling! (Till Death do us Part) - 2008 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signatur...

Today's Heros (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on a Polaroid, Not mounted, Signature label and Certificate. Artist Inventory No. 330.01. This pr...

Zoe and Charlie Brown (Chicks and Chicks and sometimes Cocks) - 2016 Edition of 10, 20x24cm. Archival C-Print, based on an expired Polaroid. Signature and Certificate. Artist inv...

No Effects (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature...

Hans and Penelope (Immaculate Springs) - 1998 Edition of 5, plus 2 Artist Proofs. 58x185cm installed, 58x56cm each. 3 Analog C-Prints, hand-printed by the artist, based on 3 Pola...

Self Portrait (Sidewinder) - 2005 Edition of 10, 48x46cm, digital C-Print, based on a Polaroid. Signature label and Certificate. Not mounted. A German view of the American W...

Radha Shooting II (Stranger than Paradise) - 1999 90x89cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist I...

American Pie (Oxana's 30th Birthday) -2007, from the 29 Palms, CA project - 38x36cm, Edition of 10. digital C-Print print, based on a Polaroid, mounted...

When I was with my goat (The Girl behind the White Picket Fence) - 2013 50x60cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Untitled (Cathy and Shannon) - 2004 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 481...

Other Desert Cities (Sidewinder) - 2005 Edition 1/5, 13 piece, 48x46cm each, 160x320cm installed with gaps. Analog C-Print, hand printed by the artist, based on 13 original Polaro...

Outtake (Wastelands) - 2003 Edition of 5, 128x125cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventory Number 819.01, complete with certificate and signature label Not mounted For sale is a piece from the Wastelands series. purchase the 2nd edition and have it unmounted. Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007) Published in: WASTELANDS published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) 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 regis- tered 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 for the pic- tures. Happiness brimmed in that wild terrain. Maybe things were begin- ning 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 abol- ish concepts that orient us, cause and effect, time, plot, and story line, 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 acknowl- edges 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...

10525 (Stranger than Paradise) - 1999, Edition 9/10, 5 analog C-Prints, hand-printed by the artist, based on 5 Polaroids. each 57x56 cm, installed with gaps 57x308cm. Certific...

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...

The Kiss (Sidewinder) - 2005 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the original Polaroid. Signed on verso. A...

Fairytales, triptych - 2004 Polaroid - 3 Unique Pieces 1/1, 7.8 x 7,7cm (image area) each 10.7 x 8.7 cm ( including white Polaroid frame). Signed on verso. Unframed. Stefanie Sc...

The Muse (29 Palms, CA) - 2009 128x125cm, Edition 3/3. Analog C-Print, hand-printed by the Artist, based on the Polaroid, artist inventory number: 5804.03. Mounted on Aluminum wi...

'Hans and Penelope' from the movie Immaculate Springs - 1998 - Edition of 10, 20x24cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certifi...

Her last Call II (The Girl behind the White Picket Fence) - 2013 78x77cm, Edition 3/5, Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Artist Inventory # 16495.03. Not mounted. Featuring Heather Megan Christie. 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 a newly orphaned girl after losing her parents who lived in the Californian desert in a vintage Spartan 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 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...

To the Wonder (The Girl behind the White Picket Fence) 70x90cm, Edition 1/5, 2013. Analog C-Print, hand-printed by the artist, based on an expired Polaroid. Certificate and Signat...

Stefanie Schneider Polaroid sized unlimited Mini 'Gestures' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on ...

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...

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...