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Stefanie Schneider'Penelope' from the movie Immaculate Springs - starring Jacinda Barrett1998
1998
About the Item
'Penelope' from the movie Immaculate Springs - 1998
Edition of 10,
20x30cm, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Signature Label and Certificate.
Artist inventory Number 14007.
Not mounted.
from the movie 'Immaculate Springs' starring Udo Kier and Jacinda Barrett
Stefanie Schneider: A German view of the American West
The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century?
Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works by hand.
What is initially striking about Schneider's images is perhaps simply the color of her expired Polaroids but her role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction.
This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.''
''The ex-lover experiences the residues of love as an amputee experiences the sensation of a ghost limb.'' - Stefanie Schneider
Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider.
(published in Barnebys, May 3rd, 2017)
Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distils auratically charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangley alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the poor film stock emphazises the fragility of the icon even more.
FlashART - Sabine Dorothee Lehner
(translated from German by Michael Robinson)
- Creator:Stefanie Schneider (1968, German)
- Creation Year:1998
- Dimensions:Height: 7.88 in (20 cm)Width: 11.82 in (30 cm)Depth: 0.04 in (1 mm)
- More Editions & Sizes:20x20cm, Edition of 10Price: $415
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652310449562
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