California - Landscape Photography
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265
1,896
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1,366
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192
359
2,708
69
46
27
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11
2
2,006
1,296
1,074
1,583
1,403
1,178
519
506
497
484
398
398
345
323
317
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305
287
240
203
197
184
2,455
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2,107
1,986
1,957
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852
184
164
101
286
1,645
4,466
14,160
5,459
Item Ships From: California
Cloudy Empire (Strange Love) - Polaroid, New York
By Stefanie Schneider
Located in Morongo Valley, CA
Cloudy Empire (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Afternoon Empire (Strange Love) - Polaroid, New York, Empire State Building
By Stefanie Schneider
Located in Morongo Valley, CA
Afternoon Empire (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Across (Strange Love) - Polaroid, New York
By Stefanie Schneider
Located in Morongo Valley, CA
Across (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6145.
N...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
A Dream Play (Strange Love) - Polaroid, New York
By Stefanie Schneider
Located in Morongo Valley, CA
A Dream Play (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 60...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
California Depression (California Badlands) - Contemporary, Polaroid, Landscape
By Stefanie Schneider
Located in Morongo Valley, CA
California Depression (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inv...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
The Safari Inn (California Badlands) - Contemporary, Polaroid, Landscape
By Stefanie Schneider
Located in Morongo Valley, CA
The Safari Inn (California Badlands) - 2010
20x24cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ski Inn (Bombay Beach), 21st Century, Polaroid, Landscape Photography
By Kirsten Thys van den Audenaerde
Located in Morongo Valley, CA
Ski Inn (Bombay Beach) - 2018
20x24cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Not mounted.
Bombay...
Category
2010s Contemporary California - Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid, Archival Paper
Bombay Palm Trees (California Badlands) - Bombay Beach - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Bombay Palm Trees (California Badlands) - Bombay Beach) - 2019
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Signature label and Certifica...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Last Stop Bombay Beach (California Badlands)
By Stefanie Schneider
Located in Morongo Valley, CA
Last Stop Bombay Beach (California Badlands) - 2019
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist In...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Table for Two (Bombay All Day) - Contemporary, Polaroid, Bombay Beach, Landscape
By Kirsten Thys van den Audenaerde
Located in Morongo Valley, CA
Table for Two (Bombay All Day) - 2019
20x24cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print based on the original Polaroid.
Signature label with certificate.
Artist inven...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2194.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2197.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie.
“I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster)
This piece:
Coney Island (Stay) - 2006
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory # 2196.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Columbia Thinking (Stay) - Polaroid, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Ancient Bridge Views III (Stay)
By Stefanie Schneider
Located in Morongo Valley, CA
Ancient Bridge Views III (Stay) - 2006
20x20cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventory No. 2490.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets
Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
20x20cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Not a Through Street (Drive to the Desert) - analog hand-print
By Stefanie Schneider
Located in Morongo Valley, CA
Not a Through Street (Drive to the Desert) - 1999
44x59cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Signed o...
Category
1990s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Interstate 10 Overpass (Drive to the Desert) - analog hand-print
By Stefanie Schneider
Located in Morongo Valley, CA
Interstate 10 Overpass (Drive to the Desert) - 1999
44x59cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist, based on the original Polaroid.
Signe...
Category
1990s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
April is the Cruelest Month - Contemporary, Landscape, Polaroid, Analog
By Stefanie Schneider
Located in Morongo Valley, CA
April is the Cruelest Month (Memories of Green) / (The Getaway) - 1999
58x56cm,
Edition of 10 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Arch...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Summer Interlude II (Deconstructivism) - Contemporary, Expired Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Summer Interlude II (Deconstructivism) - 2020
- about the narrative potential of images.
20x20cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Art...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Another Galaxy
By Kirsten Thys van den Audenaerde
Located in Morongo Valley, CA
Another Galaxy, 2017,
20x20cm,
Edition of 7 plus 2 Artist Proofs.
Archival C-Print, Based on the original Polaroid, not mounted.
Signature label with certificate.
Artist inventor...
Category
2010s Contemporary California - Landscape Photography
Materials
C Print, Color, Polaroid, Archival Paper, Photographic Paper
The Dancer V (Stay) - the movie, expired Polaroid, analog hand made
By Stefanie Schneider
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunny Empire (Strange Love) - Polaroid, New York, Empire State Building
By Stefanie Schneider
Located in Morongo Valley, CA
Sunny (Strange Love) - 2005
50x49cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. 6151.
No...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Planes II (Stranger than Paradise)
By Stefanie Schneider
Located in Morongo Valley, CA
Planes II - 2008
40x40cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and Certificate.
Artist Inventory #4653.
Not mounted.
...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Rosegarden #01 (Suburbia), analog, diptych
By Stefanie Schneider
Located in Morongo Valley, CA
Rosegarden #01 (Suburbia), diptych - 2004
Edition 3/5,
60x80cm each, 60x170cm installed.
2 Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Sunbathing in Antibes, Estate Edition Photograph: Hôtel du Cap Eden-Roc Poolside
By Slim Aarons
Located in Los Angeles, CA
Dani Geneux (left) and Marie-Eugenie Gaudfrin sunbathing at the Hotel du Cap Eden-Roc, Antibes, France, August 1976. Aarons' iconic photograph depicts the legendary hotel made famous by Fitzgerald's Tender is the Night, the sun-kissed home away from home for titans of literature and music (Cole Porter, Fitzgerald, Hemingway, Stefan Zweig, Noël Coward), film (Marlene Dietrich, Alain Delon, Elizabeth Taylor, who brought all of her husbands there, and every Hollywood A-lister in town for Cannes), art (Chagall, Picasso, Matisse), music (John and Yoko, Jane and Serge, Ella Fitzgerald), politics (Churchill, De Gaulle, the Kennedys), and high society (the Duke of Windsor and Wallis Simpson). Two female bathers in black sunhats enjoy a holiday in bikini and topless styles, against the rocks. Numbered and stamped by the Slim Aarons...
Category
1970s Realist California - Landscape Photography
Materials
Lambda
Jack's (Sidewinder), analog, 100x98cm
By Stefanie Schneider
Located in Morongo Valley, CA
Jack's (Sidewinder) 2005
100x98cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid.
Artist In...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Green Field - Jean Baptist's Dream no. 3 - Sidewinder
By Stefanie Schneider
Located in Morongo Valley, CA
'Green Field' Jean Baptist's Dream no. 3' (Sidewinder) - 2005,
125x154cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, printed on Fuji Chrystal Archive paper, based on the ...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
East River View (Stay) - Polaroid, 21st Century, New York
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Schneider's art was the art both characters created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as paintings hanging in several scenes within the movie.
East River View (Stay) - 2006
49x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label, artist Inventory No. 2598.
Not mounted.
Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13
Photography Art Cinema. Revisited
Stay expands a traditional connection through new facets interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated.
Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.
Photography as Art
It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Coney Island (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Long Way Home II - with Radha Mitchel and Max Sharam
By Stefanie Schneider
Located in Morongo Valley, CA
'Long Way Home II' by Stefanie Schneider
(Stranger than Paradise) - 1999
49x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print based on the Polaroid,
Not mounted, Artist ...
Category
1990s Contemporary California - Landscape Photography
Materials
Photographic Paper, C Print, Color, Polaroid
Lone Pine Motel I (The Last Picture Show)
By Stefanie Schneider
Located in Morongo Valley, CA
Lone Pine Motel I (The Last Picture Show) - 2005
60x80cm,
Edition of 5,
analog C-Print, hand-printed by the artist, based on a Polaroid,
Certificate and Signature label
artist In...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Burning Field III (Last Picture Show) - Analog C-print, Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Burning Field (Last Picture Show) - 2004,
58x57cm,
Edition of 5 plus 2 Artist Proofs.
Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaro...
Category
1990s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Dodgers Stadium, Echo Park - Polaroid, Landscape, 20th Century, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Dodgers Stadium, Echo Park (Stranger than Paradise) - 1999
50x48cm,
Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid,
Certificate and Signature label....
Category
1990s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Playground (Oxana's 30th Birthday) - Contemporary, Landscape, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Desert Playground (Oxana's 30th Birthday) - 2010
38x36cm,
Edition of 5.
Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, matte surface, based on the Pol...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
20x24m,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Inventor...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
40x48cm, Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory ...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invento...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Desert Living (California Dreaming) - Contemporary, 21st Century, Polaroid
By Stefanie Schneider
Located in Morongo Valley, CA
Desert Living (California Dreaming) - 2017
40x48cm,
Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Certificate and Signature label.
Artist Invento...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Manhattan (Stay) - Contemporary, Abstract, Landscape, Polaroid, expired
By Stefanie Schneider
Located in Morongo Valley, CA
A piece of art from the movie 'Stay' by Stefanie Schneider
Stefanie Schneider created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc ...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Manhattan (Strange Love)
By Stefanie Schneider
Located in Morongo Valley, CA
Manhattan (Strange Love) - 2018,
43x39.5cm,
Edition of 5 plus 2 Artist Proofs.
Archival C-Print, based on a 35mm analog Negative.
Signature label and certificate.
Artist Invent...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Childhood Memories (Paris), analog, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Childhood Memories (Paris) - 1995
Edition of 5,
50x60cm including white borders.
Analog C-Print, hand-printed by the artist and based on the Polaroid,
Signature label and Certif...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
In between Time (Strange Love) - Polaroid, New York, Empire State, Color
By Stefanie Schneider
Located in Morongo Valley, CA
In between Time (Strange Love) - 2005
20x20cm, Edition of 10 plus 2 Artist Proofs.
Archival C-Print, based on the Polaroid.
Signature label and certificate.
Artist Inventory No. ...
Category
2010s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Crespi And Mastroianni, Estate Edition
By Slim Aarons
Located in Los Angeles, CA
Italian countess Consuelo Crespi (left, 1928-2010) and Italian actor Marcello Mastroianni (right, 1924 - 1996) in conversation with a third woman in Costa Smeralda, Sardinia, Italy, ...
Category
1960s Realist California - Landscape Photography
Materials
Lambda
Reinhard Görner 'Inter Arma Charitas' Lisbon, Portugal
By Reinhard Görner
Located in Los Angeles, CA
Reinhard Görner
Inter Arma Charitas
Lisbon, Portugal
2014
50 x 50 inches
ed. of 10
$6,000
60 x 60 inches
ed. of 7
$9,000
70 x 70 inches
ed. of 5
$11,000
signed and numbered on label, verso
Paper is trimmed to the image: actual image size listed
Internal Search: Reinhard Görner, Library series, Halle, Germany, Large-Scale Photography, Large-scale German photography, German Libraries, German Monuments...
Category
2010s Conceptual California - Landscape Photography
Materials
C Print, Lambda
Stefanie Schneider Polaroid sized unlimited Mini 'Village Motel Blue' - signed
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'Village Motel Blue' (The Last Picture Show) - 2004 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polar...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, C Print, Color, Lambda, Polaroid
Stefanie Schneider Polaroid sized unlimited Mini 'Leaving' (Sidewinder) - signed
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider Polaroid-sized unlimited Mini 'The End' (Sidewinder) - 2005 -
signed in front, not mounted.
1 Archival Color Photograph based on the Polaroid.
Polaroid sized ...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, C Print, Color, Lambda, Polaroid
Gateway to Racepoint Beach(mosaic stained galss wooden frame around metal print)
By Natalie McGuire
Located in Agoura Hills, CA
Stained Glass, Metal Print, Wood Frame
Mixed Media Art – Fine Art Photography Meets Fine Craft Mosaic-Stained Glass Frame
My award-winning Photozaics blend the textures of Van Gogh...
Category
2010s California - Landscape Photography
Materials
Metal
Reflections on Wachusett’s medium (stained glass mosaic frame)
By Natalie McGuire
Located in Agoura Hills, CA
Stained Glass, Metal Print, Wood Frame
Mixed Media Art – Fine Art Photography Meets Fine Craft Mosaic-Stained Glass Frame
My award-winning Photozaics blend the textures of Van Gogh ...
Category
2010s California - Landscape Photography
Materials
Metal
Rosegarden II (Suburbia), analog, mounted - 21st Century, Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Rosegarden II (Suburbia) - 2004,
Edition of 1/5,
60x80cm.
analog C-Print, hand-printed by the artist, based on the original Polaroid.
Mounted on Aluminum with matte UV-Projecti...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Metal
Coney Island Beach Life (Stay) - Polaroid, 21st Century, Contemporary, Color
By Stefanie Schneider
Located in Morongo Valley, CA
Stefanie Schneider's artwork was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie...
Category
Early 2000s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Burning Field IV (Last Picture Show) - Polaroid, Contemporary
By Stefanie Schneider
Located in Morongo Valley, CA
Burning Field IV (Last Picture Show) - 2004
58x57cm,
Edition of 5,
analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
based on the Polaroid,
Signature labe...
Category
1990s Contemporary California - Landscape Photography
Materials
Archival Paper, Photographic Paper, C Print, Color, Polaroid
Reinhard Görner 'Biblioteca Nacional, Madrid, Spain' (Library, Madrid)
By Reinhard Görner
Located in Los Angeles, CA
Reinhard Görner
Biblioteca Nacional, Madrid
2017
55 x 50 inches
ed. of 10
$6,000
66 x 60 inches
ed. of 7
$9,000
77 x 70 inches
ed. of 5
$11,000
signed and numbered on label, verso
Paper is trimmed to the image: actual image size listed
Internal Search: Reinhard Görner, Library series, Madrid, Spain, Large-Scale Photography, Large-scale German photography, Spanish Libraries, Spanish Monuments, Library Photography...
Category
2010s Conceptual California - Landscape Photography
Materials
C Print, Lambda
Transport Buffs, Estate Edition, Monte Carlo Harbour
By Slim Aarons
Located in Los Angeles, CA
'Transport Buffs,' an authentic Slim Aarons Estate Edition photograph, captures an opulent scene from the summer of 1976 in the Monte Carlo harbour. The image depicts Roy J Craven and Prince Pouilnac engaged in conversation on a luxury yacht. Adorning the deck of the yacht are a helicopter and two motor boats, adding color, structure and grandeur of the scene. The duo reclines on a semi-circular seating area at the yacht's stern, featuring bright orange and white stripes, enhancing the vibrant luxury of this iconic moment.
'Transport Buffs'
Monte Carlo Harbor
Chromogenic Lambda print
Printed Later
Slim Aarons Estate Edition
Complimentary dealer shipping to your framer, worldwide.
Stamped and hand numbered by the Slim Aarons Estate.
Certificate of Authenticity included.
Collector will get the next number in the edition
72 x 48 inches
$4900
60 x 40 inches
$3950
40 x 30 inches
$3350
30 x 20 inches
$3000
Complimentary dealer shipping to your framer, worldwide.
Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century.
Photograph is unframed
Slide show includes a close-up of the Slim Aarons estate's stamp.
Collector will get the next number in the edition
* We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). *
Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone.
Internal: This Slim Aarons Seascape Photograph is set in Vintage Monte Carlo, and fits the following curatorial categories: Vintage Harbor, Vintage Yachts, ocean, France, 70's Monte Carlo, seascape, red and white stripes, Vintage beach, vintage glamour, vintage summer, watercraft, summer 1976, Monte Carlo harbour, Roy J Craven, Prince Pouilnac, luxury yacht, helicopter on yacht, motor boats, orange and white striped seating...
Category
1970s American Realist California - Landscape Photography
Materials
Lambda
Janitzio, Mexico
By Edward Weston
Located in Carmel-by-the-Sea, CA
Titled with artist's reference number on back of mount. Stamped, 'Edward Weston printed by' and signed by Cole Weston on back of mount. Inscribed. Printed from the original negative, now retired and housed at the Center for Creative Photography in Tuscon, Arizona. From the Estate of Cole Weston through inheritance with the Weston Gallery...
Category
20th Century California - Landscape Photography
Materials
Silver Gelatin
30x30in. Aerial Photography of Earth, Land, Sea - Earth 6
By MAE Curates
Located in Los Angeles, CA
This is a new series of photography of land art depicting Earth and its land forms taken from the air. This series of aerial photography captures Earth's beauty taken in remote lands...
Category
21st Century and Contemporary Contemporary California - Landscape Photography
Materials
C Print
Reinhard Görner 'Menendez y Pelayo' Madrid
By Reinhard Görner
Located in Los Angeles, CA
Reinhard Görner
Menendez y Pelayo
Biblioteca Nacional, Madrid
2017
40 x 60 inches
ed. of 10
$6,000
50 x 75 inches
ed. of 7
$9,000
signed and numbered on label, verso
Paper is tri...
Category
2010s Conceptual California - Landscape Photography
Materials
C Print, Lambda
Reinhard Görner, Law Library, Zurich, Switzerland
By Reinhard Görner
Located in Los Angeles, CA
Reinhard Görner
Law Library
Zurich, Switzerland
Contemporary large scale photograph
50" x 62.5"
Edition of 10
$6,000
60" x 75"
Edition of 7
$9,000
70" ...
Category
21st Century and Contemporary Conceptual California - Landscape Photography
Materials
Lambda
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