Artículos similares a White Trash Beautiful I (29 Palms, CA) featuring Radha Mitchell, analog, mounted

Stefanie Schneider - Margarita fuma en el baño' (Hasta que la muerte nos separe) - Polaroid, Contemporáneo

Stefanie Schneider - Margarita fuma en el baño (Hasta que la muerte nos separe) - Polaroid, Contemporáneo

Stefanie Schneider - El Místico - Círculo de Magia (29 Palms, CA)- Polaroid, Figurativo, Mujer

Stefanie Schneider - Spiegelbild (Escenario de la consciencia), analógico, 125x154cm - con Udo Kier

Stefanie Schneider - Cubo de plástico blanco - Quédate - con Ryan Gosling - de su Secuencia de recuerdos

Stefanie Schneider - Estoy congelado en mi Recuerdo del Amor que una vez fue" de Hasta que la Muerte nos Separe

¿Quieres más imágenes o vídeos?

Solicita imágenes o vídeos adicionales al vendedor

1 de 22

Stefanie Schneider
White Trash Beautiful I (29 Palms, CA) featuring Radha Mitchell, analog, mounted
1999

Name: White Trash Beautiful I (29 Palms, CA) featuring Radha Mitchell, analog, mounted
Brand: Stefanie Schneider
Price: 6039.54 CHF
Availability: InStock
Rating: 4.9 (36 reviews)

Acerca del artículo

White Trash Beautiful I (29 Palms, CA) - 1999 128x125cm, Edition 3/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid. Mounted on Aluminum with matte UV-Protection. Artist Inventory Number 794.03. Signed on verso. Exhibition: The Other Art Fair in LA, October 2018. Instantdreams Show at the Instantdreams Gallery, Berlin, 2016. Please view the photos. ------------------------------------------------ THE GREATER THE EMPTINESS THE GRANDER THE ART – Stefan Gronert Not “Twenty-six Gasoline Stations” but “29 Palms, CA”! Forty-two years after Ed Ruscha’s legendary book, there is no gasoline station at the beginning of the book that is here at hand. Instead it is the open-hearted Radha – with orange hair, pink-colored overalls and a bashful, or rather cunning, gaze that is directed downward – with which this book begins! And with her and with Max – attention: a woman –, one whose appearance is in accordance with the same styling, it comes to an end as well – after Radha has in the meantime colored her fingernails pink, again endowed with the same open heartedness and the same look which now, however, reveals in combination with her altered facial expression an “old-maidish” turning away from the viewer. This may serve as an example for a vivid and understandable transformation which flows into a large-scale representation of a cheerless settlement beneath a shining, blue sky – there a figure, lost straightaway, becomes overwhelmed. Pictures which in 1998/99 play in the harsh California sunlight or in spaces that are not exactly cozy and comfortable. “Play” is the correct word in this regard, for precisely in view of the pictures of persons, there remains more than just doubt as to whether we are looking at staged scenes or have simply happened upon the high-strung “reality” of a (wannabe) film world. Yet not all the pictures have the same character of a glaring, plastic world. Upon flipping through the pages, we also encounter unpretentious, literally “colorless” scenes in undefined interiors, or unspectacular views resembling a still life and opening out onto a nowhere land. That which connects all participants in these picture-worlds is the observation that they appear to be exhausted, lost, empty or uncertain about their existence. One is almost reminded of the empty gazes and loneliness of the protagonists in the pictures of large cities painted by Manet or Degas in the era of Early Modernism. With one exception, all the photographs which are reproduced here, which originally measure 60 by 70 cm but which here, in their present size and configuration, make productive use of the possibilities presented by the medium of the book, manifest several elements of B-movies: smoking, naked, made-up and muscular persons who are not inclined to conform entirely to the vision of Hollywood dreams. Beauty and vexation, eroticism and loneliness enter into a mixture which reveals the rift between desire and truth. From a distance, one is reminded of the “Untitled Film Stills” of Cindy Sherman, which in this regard are not nearly as drastic. Yet where as her photos from the seventies are characterized by a cool, objective mode of representation in historicizing black-and-white, the photographs of Stefanie Schneider evince a soft, sometimes seemingly pictorial visual language with a coloration ranging from the pale to the artificial-glaring. As in many other pictures of Stefanie Schneider which often present themselves to us as sequences, these photos refer back as well to the perceptual stereotypes of film. Making use of instant photography, proceeding from which significantly enlarged C-prints come into being, her pictures summon up the impression of a narration without ultimately becoming part of a plot that is readable in a linear fashion. The illusion of the narrative element, however, simply enhances the experience of a renunciation of just this aspect. For the picture titles as well – and also the title of this publication – provide no real help with the imaginary construction of a story. Nevertheless, names return which include the first name of the artist herself: hence is everything not in fact a game but rather a series of authentic and instantaneous images, or is it after all nothing other than a staging, a game – how real is life? The paucity of plot elements, which contradicts all expectation of a cinematic style, as well as the emptiness and loneliness of the persons, enters into a peculiar, sometimes seemingly surreal association with the magic of the sun-drenched expanses of the dreamlike landscape. Just as the fantasy and imagination of the viewer are stimulated, so to the same great extent does the redemption of these visual figures of love founder on a void whose glaze is created, not least of all, by the peculiar blurriness of the photographic representation. The seemingly amateur character of these pictures, which have in no way been treated with any excessive scrupulousness, leaves us with a stimulating incertitude as to their interpretation, one in which the spheres of reality, fiction or dream are scarcely capable any longer of being differentiated. Thus the gaps and the scenic openness of what is presented ultimately set in motion a self-appraisal. So what remains after “29 Palms, CA”? Perhaps that hope which deviates from the saying of Ruscha that is quoted in the title: The stronger the photography the better the reality will be!

Creador:
Stefanie Schneider (1968, Alemán)
Año de creación:
1999
Dimensiones:
Altura: 128 cm (50,4 in)Anchura: 125 cm (49,22 in)Profundidad: 1 cm (0,4 in)
Medio:
Papel de archivo,Papel fotográfico,Impresión C,Polaroid,Metal
Movimiento y estilo:
Contemporáneo
Época:
2000-2009
Estado:
this piece ships in a crate.
Ubicación de la galería:
Morongo Valley, CA
Número de referencia:
1stDibs: LU65237068202

Stefanie Schneider
Spiegelbild (Escenario de la consciencia), analógico, 125x154cm - con Udo Kier, 2008

9305 US$ Precio de venta

Descuento del 20 %

El Místico - Círculo de Magia (29 Palms, CA)- Polaroid, Figurativo, Mujer

Por Stefanie Schneider

El Místico - Círculo de Magia (29 Palms, CA), - 2009 Edición 3/5 , 37x47cm. C-Print analógico, impreso a mano por el artista en papel Fuji Crystal Archive, basado en una Polaroid,...

Categoría

Principios de los 2000, Contemporáneo, Fotografía en color

Materiales

Metal

Stefanie Schneider
El Místico - Círculo de Magia (29 Palms, CA)- Polaroid, Figurativo, Mujer, 2009

2047 US$ Precio de venta

Descuento del 20 %

Cubo de plástico blanco - Quédate - con Ryan Gosling - de su Secuencia de recuerdos

Por Stefanie Schneider

Cubo de plástico blanco (Quédate), de la secuencia de recuerdos de Ryan Gosling. 2006, 85x85cm, 4 piezas, cada una 39x38,5cm, Edición 2/5, C-Prints analógicos, impresos por el artis...

Categoría

Principios de los 2000, Contemporáneo, Fotografía figurativa

Materiales

Metal

Stefanie Schneider
Cubo de plástico blanco - Quédate - con Ryan Gosling - de su Secuencia de recuerdos, 2006

4652 US$

Estoy congelado en mi Recuerdo del Amor que una vez fue" de Hasta que la Muerte nos Separe

Por Stefanie Schneider

Estoy congelado en mi Memoria del Amor que una vez fue' (Hasta que la Muerte nos Separe) - 2005 122x122cm, Edición 2/5, Impresión analógica C-Print, impresa a mano por el artista,...

Categoría

Principios de los 2000, Contemporáneo, Fotografía en color

Materiales

Metal

Stefanie Schneider
Estoy congelado en mi Recuerdo del Amor que una vez fue" de Hasta que la Muerte nos Separe, 2005

7500 US$

1767 US$ Precio de venta

Descuento del 20 %

Massimo Listri, Biblioteca Laurenziana II, Florencia, Italia

Por Massimo Listri

Impresión cromogénica - Sin marco Envío gratuito - Consúltanos las opciones de enmarcado personalizado. 40 x 48 pulgadas - edición de 5 48 x 60 pulgadas - edición de 5 71 x 88,5 p...

Categoría

2.º década del siglo XXI, Contemporáneo, Fotografía en color

Materiales

Papel de archivo, Impresión C

Massimo Listri
Massimo Listri, Biblioteca Laurenziana II, Florencia, Italia, 2016

14.500 US$

Envío gratuito

Vistos recientemente

Ver todo

Stefanie SchneiderWhite Trash Beautiful I (29 Palms, CA) featuring Radha Mitchell, analog, mounted1999

Acerca del artículo