Art on Sale

Bathroom (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate, ...

Living Room (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate...

Bedroom Plant (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certifica...

Silver Bra (29 Palms, CA) - 1999 58x56cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate,...

1 Stefanie Schneider Mini 'Male Nude' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2016 10.7 x 8.8cm...

Cabazon Dinosaurs (Drive to the Desert) - 2000 44x59cm, Edition 5/5. Analog C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #155.05. Not mount...

Four Corners (The Last Picture Show) - 2005 Edition 1/5, 38x37cm each, 38x208cm installed including gaps. 5 Analog C-Prints, hand-printed by the artist on Archive Fuji Chrystal Pa...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland...

Campbell Kitchen (29 Palms, CA) - 1999 Edition 1/10, 65x60cm. Analog C-Print, hand-printed by the artist, mounted on Aluminum with matte UV-Protection, based on the Polaroid with ...

Blow my Mind (Till Death do us Part) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Certificate and Signature label. Artist Invent...

Available (Oxana's 30th Birthday) -2007, from the 29 Palms, CA project - 38x36cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and s...

Girl at Fence III (The Last Picture Show) - 2005, 58x56cm. Edition 2/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. Arti...

Chicken Madonna (Chicks and Chicks and sometimes Cocks) - 2016 30x37cm, Edition 1/10. Archival Print on Dibond, based on the Polaroid. Signed on back with Certificate. Artist In...

Your Eyes on Me (Till Death do Us part) - 2005 40x39cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid, Certificate and Signature label. ...

Chicken Madonna (Chicks and Chicks and sometimes Cocks) - 2016 100x125cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signed on back with Certifi...

Stefanie Schneider's Mini Saigon (Stranger than Paradise) - 2003 signed in front, not mounted. Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2023...

Stefanie Schneider's Mini Morning Glory (Till Death Do Us Part) - 2005 featuring Daisy McCrackin signed in front, not mounted. Digital Color Photographs based on a Polaroid. Pola...

Stefanie Schneider's Mini Jules and Jim (29 Palms, CA) - 2007 signed in front, not mounted. Digital Color Photographs based on the Polaroids. Polaroid sized open Editions 1999-2023...

The Diva and the Boy (Beachshoot) - 2005 Edition of 10 plus 2 artist Proofs. 48x46cm each, installed 155x151cm. 9 archival C-Prints, based on the 9 Polaroids. Certificate and Sig...

Flying (Stage of Consciousness) from the 29 Palms, CA project - 2008 Edition of 5 9 pieces (each 50x62cm) plus wall text and music, piece installed all included ca. 300x320cm, a...

Zabriskie Point (Stranger than Paradise) - 6 pieces - 2003 Edition of 10 plus 2 Artist Proofs. 20x20cm each, together with gaps 45x70cm. 6 archiva...

'You, the desert and me' (The Girl behind the White Picket Fence) 125x150cm, Edition of 5, Analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Sign...

Buried (Stranger than Paradise) - 1999 Edition of 10, 58x56cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventory N...

Max by the Pool (29 Palms, CA) - 1999 Edition 7/10, 67x60cm including the white 'Polaroid' frame. Analog C-Print, hand-printed by the artist, based on the Polaroid, mounted on Al...

Max in front of Motel (29 Palms, CA) - diptych Edition of 10, 70x60 each, 70x125cm installed with white 'Polaroid' frame. 2 analog C-Prints, based on 2 Polaroids. Signature labe...

Washing made easy (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventor...

Lollipop (Beachshoot) - 2005 80x80cm, Edition 1/5. Analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Under glass with a white wooden...

Wonder Valley (Sidewinder) - 2005 Edition of 5, 156x125cm. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3094. Not mounted. "...

Magic Mountain III (Memories of Green) - 2003 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper. based on an expired Polaroid, Artist...

Jimi Hendrix Palm Trees (Californication) - 2016 20x20cm, Edition 7/10. Archival C-Print, based on the Polaroid. Certificate and Signatur...

Miss America (Sidewinder) - 2005 100x98cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the Polaroid. Certificate and Signatur...

Olancha (Stranger than Paradise) - 1999, (6 pieces) 38x36cm each, 80x120cm installed with gaps, Edition of 10, plus 2 Artist Proofs, 6 archival C-Prints, based on the 6 Polaroids. ...

Snap–15 Minutes of Fame (Wastelands) - 4 pieces, 2003 Edition of 5, 105x100cm each, 220x220cm installed. Analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,...

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

Kaleidescope (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20434....

Life on Mars (My Desert Living Project) - Hatching Edition of 10, 40x30cm, Archival C-Print. Artist inventory E007. Signature label and Certificate. Not mounted. Life on Mars ...

Dreamgirl II (29 Palms, CA) - 1999 Edition 2/10, 58x56cm. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte UV-Protection. Signe...

Kaleidescope (Zuma Beach) - 2004 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20434....

Life on Mars (My Desert Living Project) 40x30cm, Edition 2/10. Archival Fine art Print. Artist inventory #E001. Signature label and Certificate. Not mounted. Life on Mars is...

The Lonely Hearts DJ (The Girl behind the White Picket Fence) - 2016 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 17050.01. Offered is a piece from the movie: The Girl behind the White Picket Fence - A tale told with blemished and expired Polaroid film about the hopes and dreams of an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girls journal (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose 10 acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004, when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck, if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell...

Calliope (Haley and the Birds) - 2013 20x20cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print based on the Polaroid Certificate and signature label, Not mounted. Stefanie ...

Malina (Stranger than Paradise) - 1997 43x59cm, Edition of 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Invento...

The Big Blue (Californication) - 2019 48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature ...

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

Love Scene against the Wall (Sidewinder), part 4 - 2007 40x40cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 3277. ...

The Urge to Disappear (Stranger than Paradise) - 1997 59x43cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. A...

Haley and the Bird Man (Haley and the Birds) - 2013 from the 29 Palms, CA Project 4 pieces 70x90cm installed, 30x40cm each. Edition of 10 plus 2 Artist Proofs,. 4 archival C-Prin...

Like a Snowball down a Mountain (Stranger than Paradise) - diptych - 1998 43x59 cm each, 91x59cm installed. Edition 4/5. 2 Analog C-Prints, hand-prin...

Afternoon Drifter (Last Picture Show) - 2006 Edition of 10, 58x57cm. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, based on the Polaroid. Artist inve...

Nadia's Innocence (Stranger than Paradise) - 1998 43x59cm, Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory #115. Not mounted. 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...

Venice II (Stranger than Paradise) - 1999 43x59cm, Edition of 3/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Invent...

Skylark (Stranger than Paradise) - 1997 43x59cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory...

Skylark (Stranger than Paradise) - 1997 43x59cm, Edition 5/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature La...

Highway One (Zuma Beach) - 1997 43x59cm, Edition of 4/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificat...

By the Sea (Zuma Beach) - 1997 43x59cm, Edition of 3/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 119.03...

Venice from the Sea (Stranger than Paradise) - 1998 43x59cm, Edition of 5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artis...

Castaway (Last Picture Show) - 1999 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 869. Not mounted. Instan...

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...