Instantdreams Landscape Photography
to
80
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302
51
34
80
Overall Width
to
Overall Height
to
173
1,172
172
1,322
5
594
468
279
354
318
283
167
166
129
126
119
112
104
82
78
70
64
62
61
57
51
51
50
1,303
1,253
1,237
1,131
1,023
944
164
35
29
20
53
229
1,247
85
Childhood Memories (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Childhood Memories (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2261
Not mounted.
Stefan...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Coney Island (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2266
Not mounted.
Stefanie Sch...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Big Boy (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Big Boy (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory # 2266
Not mounted.
Stefanie Schneide...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Indian Summer V (The Last Picture Show)
By Stefanie Schneider
Located in Morongo Valley, CA
Indian Summer V (The Last Picture Show) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print print, based on the Polaroid,
Certificate and Signature label
Artist...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Silence Void (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Silence Void (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2116.
Not mounted.
Stefanie...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2058.
N...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2050.
No...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Childhood Memories (Stay) - featuring Ryan Gosling- Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Childhood Memories (Stay) - 2006 - featuring Ryan Gosling- Polaroid
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inv...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Best Friend (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Best Friend (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2030.
Not mounted.
Stefanie ...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence Disco (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Memory Sequence Disco (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2006...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Memory Sequence (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Memory Sequence (Stay) - 2006
with Ryan Gosling
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2003.
No...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Sunny Boy (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Sunny Boy (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2000.
Not mounted.
Stefanie Sc...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Indian Summer IV (The Last Picture Show)
By Stefanie Schneider
Located in Morongo Valley, CA
Indian Summer III (The Last Picture Show) - 2005
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print print, based on the Polaroid,
Certificate and Signature label
Artist Inventory No 18549.
Not mounted.
Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters.
Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction.
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.
“It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”)
What makes Stefanie Schneider’s work so unique is that it’s immediately recognizable. Perfect ‘wabi-sabi’ in appearance and content. Dream like, colorful with depth and vision. From start to finish, a truly self made artist with a distinctively female perspective.
Exhibitions Selected (selected)
2018
Participation Bombay Beach Biennale, Bombay Beach, USA (G) March
Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin with Adam Berg, Doron Gazit, Kellan Barnebey, Chris Sanchez, Aili Schmelzt
2017
BLICKFELD Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog), (upcoming)
Rosegallery, Bergamot Station, Santa Monica (G)
Magie des Moments, Kunstverein Bad Homburg Artlantis, Bad Homburg (G)
2016
Instantdreams, Instantdreams Gallery, Berlin
(S)
2015
Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky
The Ballery in Heat, The Ballery, Berlin (G)
Blue Nudes, De Re Gallery, Los Angeles (G)
2014
Summer Show, Galerie Catherine et André Hug, Paris, France (G)
6 Finalists, Saatchi Gallery London (G)
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
2013
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images
For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region, Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog)
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
Heather's Dream, Short, German Competition Short Film Festival Oberhausen
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Pile Up (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Pile Up (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1955.
Not mounted.
Stefanie Schn...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Coffee Break (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Coffee Break (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1576.
Not mounted.
Stefanie...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Hudson (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Hudson (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1575.
Not mounted.
Stefanie Schne...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Blue Sky Palm Trees (Sidewinder) - including the book 'A Half Forgotten Dream'
By Stefanie Schneider
Located in Morongo Valley, CA
Blue Sky Palm Trees (Sidewinder) - 2005
including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 196 pages, hardcover, published by snap Collective, 2024.
20x...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hell (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Hell (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1573.
Not mounted.
Stefanie Schneid...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 09 (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Brooklyn Bridge 09 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1571.
Not mounted.
St...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 08 (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Brooklyn Bridge 08 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1570.
Not mounted.
St...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 06 (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Brooklyn Bridge 06 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1568.
Not mounted.
St...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 05 (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Brooklyn Bridge 05 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1567.
Not mounted.
St...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Brooklyn Bridge 04 (Stay) - Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Brooklyn Bridge 04 (Stay) - 2006
20x20cm,
Edition of 10,
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 1566.
Not mounted.
St...
Category
Early 2000s Contemporary Color Photography
Materials
Photographic Film, Archival Paper, C Print, Color, Polaroid
Xtreme (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Xtreme (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid photograph.
Artist inventory Number 909.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Time Traveller (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Time Traveller (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory N...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Without You (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Without You (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 934.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Outback Dreams (29 Palms CA)
By Stefanie Schneider
Located in Morongo Valley, CA
Outback Dreams - 29 Palms, CA - 2010
50x130cm.
Archival C-Print, based on the 3 original Polaroids.
Signature label and certificate.
Artist Inventory # 1933.
Not mounted.
THE G...
Category
1990s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Almost Paradise (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Almost Paradise (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 894.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Into Eternity (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Into Eternity (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 893.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Valley Vista (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Valley Vista (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 864.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sudden Urge (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Sudden Urge (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 809.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Brilliant Shadow (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Brilliant Shadow (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22720.
Signature labe...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Showboat (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Showboat (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22875.
Signature label and Ce...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Man (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
The Man (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22884.
Signature label and Cer...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Silver Bullet (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Silver Bullet (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23475.
Signature label and Certificate.
Not mounted.
For sale is a piece from the Wastelands series.
Reality with the Tequila:
Stefanie Schneider’s Fertile Wasteland
by James Scarborough
“How much more than enough
for you for I for both of us darling?”
(E. E. Cummings)
Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.
Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.
Until she met him, she had not been inclined.
It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.
They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up.
That’s when the shooting started…
Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.
Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty.
She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.
Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.
That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
It's Going to Be OK (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
It's Going to Be OK (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23890.
Signature l...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Wits End (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Wits End (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 20496.
Signature label and Ce...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Before (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Before (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 18740.
Signature label and Cert...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
After (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
After (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 18799.
Signature label and Certi...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Minis - Airstream (29 Palms, CA) - signed on back, mounted
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's Minis
'Airstream' (29 Palms, CA) - 1999
signed and signature brand on verso
Lambda digital Color Photographs based on a Polaroid
Polaroid sized open Editions 1...
Category
Early 2000s Contemporary Color Photography
Materials
Plexiglass, Archival Paper, Color, Lambda, Polaroid
Blooded (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Blooded (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 22991.
Signature label and Cer...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
On The Run (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
On The Run (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23024.
Signature label and ...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Getaway (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
The Getaway (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 23256.
Signature label and...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Untitled (Oilfields) - Proof before Printing, signed on front
By Stefanie Schneider
Located in Morongo Valley, CA
Untitled (Oilfields), 2004
60x60cm,
Proof b4 Printing,
Analog C-Print, hand-printed by the artist, based on the original Polaroid, signed in front.
Artist Inventory No. 1208.
Not...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Chance (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Last Chance (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 24104.
Signature label and...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Brass Shell (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Brass Shell (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 905.
Signature label and C...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
House up in the Mountains (Wastelands) - Contemporary, Analog, Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
House up in the Mountains (Wastelands) - 2003
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 1235.
Signat...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Hidden Valley (Wastelands)
By Stefanie Schneider
Located in Morongo Valley, CA
Hidden Valley (Wastelands) - 2003
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the original Polaroid.
Artist inventory Number 1992.
Signature label a...
Category
Early 2000s Contemporary Black and White Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Blue Day (Wastelands)
By Stefanie Schneider
Located in Morongo Valley, CA
Blue Day (Wastelands) - 2003
38x37cm,
Edition 2/5.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Artist inventory Number 837.
Signature label and c...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Streetcorner (Stranger than Paradise) - Contemporary, Woman, Polaroid, Dream
By Stefanie Schneider
Located in Morongo Valley, CA
Streetcorner (Stranger than Paradise) - triptych, 2003
Edition 6/10,
57x56cm each, 57x185cm installed including 5cm gaps.
3 Analog C-Prints, hand-printed by the artist on Fuji Cr...
Category
Early 2000s Contemporary Landscape Photography
Materials
Metal
On the Rocks (Long Way Home) - analog, 58x57cm
By Stefanie Schneider
Located in Morongo Valley, CA
On the Rocks (Long Way Home) - 1999,
58x57cm,
Edition of 10, plus 2 Artist Proofs.
Analog C-Print based on a Polaroid, hand-printed by the artist on Fuji Crystal Archive Paper.
...
Category
1990s Pop Art Portrait Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Garden Way (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
Garden Way (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory #211.
Not mo...
Category
1990s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Secret Garden (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
Secret Garden (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory #212.
Not...
Category
1990s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Lifeguard (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
Lifeguard (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory #499.
Not mou...
Category
1990s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunset (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
Sunset (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory # 119.
Not mount...
Category
1990s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Seagulls (Zuma Beach)
By Stefanie Schneider
Located in Morongo Valley, CA
Seagulls (Zuma Beach) - 1999
20x25cm,
Edition of 10 plus 2 Artists Proofs.
Archival C-Print, based on the Polaroid.
Signature Label and Certificate.
Artist Inventory # 107.
Not mou...
Category
1990s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Planet of the Apes - 7 pieces complete Series - Polaroid, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Planet of the Apes - 1999,
Edition of 3/10,
60x60cm each, installed 60x450cm.
7 analog C-Prints, hand-printed by the artist, based on the 7 original Polaroids, not mounted.
Signature label and Certificate.
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...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Lila and Sam' (Stay) - signed
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini
'Lila and Sam' (Stay) - 2006 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized ...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, C Print, Color, Lambda, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Oasis' (Sidewinder) - signed
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Oasis' (Sidewinder) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized op...
Category
Early 2000s Contemporary Color Photography
Materials
Archival Paper, C Print, Color, Lambda, Polaroid
Denny's (29 Palms, CA) - 21st Century, Polaroid, Contemporary, Landscape
By Stefanie Schneider
Located in Morongo Valley, CA
Denny's (29 Palms, CA) - 1997
50x49cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print based on the Polaroid.
Signature label and certificate.
Artist Inventory 9847.
Not ...
Category
Early 2000s Contemporary Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
