Hemispheres Away, Contemporary, 21st Century, Polaroid, Figurative Photography

Stefanie Schneider
Hemispheres Away, Contemporary, 21st Century, Polaroid, Figurative Photography
2013

Angaben zum Objekt

'Hemispheres Away' (The Girl behind the White Picket Fence), 75x93cm, Edition 2/5, analog C-Print, hand-printed and enlarged by the artist on Fuji Crystal Archive Paper, based on a Polaroid photograph, Certificate and Signature label, artist Inventory No. 11912.07, not mounted 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 50 foot 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 / Carolyn Ryder) Stefanie Schneider lives and works in Los Angeles and Berlin. 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 dreamscapes. 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. “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”) 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! Translated by George Frederick Takis Stefanie Schneider lives and works in the California High Desert and Berlin 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 dreamscapes. 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.

Schöpfer*in:
Stefanie Schneider (1968, Deutsch)
Entstehungsjahr:
2013
Maße:
Höhe: 75 cm (29,53 in)Breite: 93 cm (36,62 in)Tiefe: 1 mm (0,04 in)
Medium:
Archivpapier,Fotopapier,C-Print,Polaroid
Bewegung und Stil:
Zeitgenössisch
Zeitalter:
2000–2009
Zustand:
new.
Galeriestandort:
Morongo Valley, CA
Referenznummer:
1stDibs: LU65233801002

Mehr von diesem*dieser Anbieter*inAlle anzeigen

Frenzy II (Sidewinder) – Analog, Polaroid, Zeitgenössisch, 21. Jahrhundert
Von Stefanie Schneider
Raserei II (Sidewinder) 2005, 125x156cm, Auflage 2/5. Analoger C-Print, gedruckt von der Künstlerin, basierend auf einem abgelaufenen Polaroid. Label für Zertifikat und Unterschrift...
Kategorie
Anfang der 2000er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Farbe, Fotopapier, C-Print, Polaroid
Stefanie Schneider
Frenzy II (Sidewinder) – Analog, Polaroid, Zeitgenössisch, 21. Jahrhundert, 2005
3.000 $ Angebotspreis
44 % Rabatt
Ohne Titel - Till Death do us Part, analog, montiert
Von Stefanie Schneider
ohne Titel" (Bis dass der Tod uns scheidet) 2009, 125x154cm, Auflage 1/5, analoger C-Print, vom Künstler handgedruckt auf Fuji Crystal Archive Papier, basierend auf einem Polaroid,...
Kategorie
Anfang der 2000er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Fotopapier, C-Print, Farbe, Polaroid
Stefanie Schneider
Ohne Titel - Till Death do us Part, analog, montiert, 2009
4.248 $ Angebotspreis
40 % Rabatt
Eine Vision, die man nicht erfassen kann, zeitgenössisch, 21. Jahrhundert, Polaroid, Landschaftsfotografie
Von Stefanie Schneider
A Vision you can't Capture (29 Palms, CA), 2007, je 125x150 cm, 3 Stück, installiert 125x470cm, Auflage 1/5, analoger C-Print gedruckt auf Fuji Archive Paper, vom Künstler handgedruc...
Kategorie
Anfang der 2000er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Fotopapier, C-Print, Farbe, Polaroid
Stefanie Schneider
Eine Vision, die man nicht erfassen kann, zeitgenössisch, 21. Jahrhundert, Polaroid, Landschaftsfotografie, 2007
19.608 $ Angebotspreis
40 % Rabatt
accident II - mit Ewan McGregor und Ryan Gosling, Polaroid, 21. Jahrhundert, Farbe
Von Stefanie Schneider
Ein Kunstwerk aus dem Film "Stay" von Stefanie Schneider mit Ryan Gosling und EwanMcGregor in den Hauptrollen Accident II (Stay), 2006, 128x125cm, Auflage 2/10, analoger C-Print, v...
Kategorie
Anfang der 2000er, Zeitgenössisch, Figurative Fotografie
Materialien
C-Print, Farbe, Polaroid, Archivpapier, Fotopapier
Stefanie Schneider
accident II - mit Ewan McGregor und Ryan Gosling, Polaroid, 21. Jahrhundert, Farbe, 2006
3.200 $ Angebotspreis
26 % Rabatt
Henry schaute Athena Dance II – 21. Jahrhundert, Zeitgenössisch, Ryan Gosling
Von Stefanie Schneider
Henry beobachtet Athena beim Tanzen (Aufenthalt) - 2006 Mit Ryan Gosling. 48x46cm, Auflage 1/10. Archival C-Print, gedruckt auf Fuji Crystal Archive Papier, matte Oberfläche, basi...
Kategorie
Anfang der 2000er, Zeitgenössisch, Figurative Fotografie
Materialien
Archivpapier, Fotopapier, C-Print, Farbe, Polaroid
Stefanie Schneider
Henry schaute Athena Dance II – 21. Jahrhundert, Zeitgenössisch, Ryan Gosling, 2006
871 $
Beautiful White Trash Beautiful I - 29 Palms, CA, mit Radha Mitchell
Von Stefanie Schneider
White Trash Beautiful I (29 Palms, CA) featuring Radha Mitchell - 1999 128x125cm, Auflage 3/5. Analoger C-Print, handgedruckt von der Künstlerin auf Fuji Crystal Archive Papier, ...
Kategorie
Anfang der 2000er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Fotopapier, C-Print, Farbe, Polaroid
Stefanie Schneider
Beautiful White Trash Beautiful I - 29 Palms, CA, mit Radha Mitchell, 1999
9.600 $ Angebotspreis
26 % Rabatt

Das könnte Ihnen auch gefallen

Tyler Shields - High heels (This is not a reflection), 2024, Nachgedruckt
Von Tyler Shields
Serie: Ablasshandel Chromogener Druck auf Kodak Endura Luster Papier Alle verfügbaren Größen und Ausgaben: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Ausgaben von 3 + 2 Artist...
Kategorie
2010er, Zeitgenössisch, Figurative Fotografie
Materialien
Lüster, Papier, Archivpapier, Fotopapier, C-Print, Digital, Archivalisch...
Tyler Shields
Tyler Shields - High heels (This is not a reflection), 2024, Nachgedruckt, 2024
2.500 $
Tyler Shields – The Mouth, Fotografie 2017, Nachdruck
Von Tyler Shields
Serie: Mündungen Chromogener Druck auf Kodak Endura Luster Papier Alle verfügbaren Größen und Ausgaben: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Ausgaben von 3 + 2 Artist Pr...
Kategorie
2010er, Zeitgenössisch, Farbfotografie
Materialien
Lüster, Archivpapier, C-Print, Papier
Tyler Shields
Tyler Shields – The Mouth, Fotografie 2017, Nachdruck, 2017
2.500 $
Tyler Shields - Erdbeere, Fotografie 2024, Nachgedruckt
Von Tyler Shields
Serie: Ablasshandel Chromogener Druck auf Kodak Endura Luster Papier Alle verfügbaren Größen und Ausgaben: 18" x 18" 30" x 30" 45" x 45" 60" x 60" Ausgaben von 3 + 2 Artist Proofs T...
Kategorie
2010er, Zeitgenössisch, Figurative Fotografie
Materialien
Lüster, Papier, Archivpapier, Fotopapier, C-Print, Digital, Archivalisch...
Tyler Shields
Tyler Shields - Erdbeere, Fotografie 2024, Nachgedruckt, 2024
2.500 $
Peter Andrew Lusztyk – Lego „Cowboy“, Fotografie 2021, Druck nach
Von Peter Andrew Lusztyk
Lego "Cowboy" Digitaler C-Print / Archivpigmentdruck Auflage von 5 Stück pro Größe Verfügbare Größen: 36 x 24 48 x 36 60 x 48 Die Serie "Collectible" befasst sich auf Makroebene mit...
Kategorie
2010er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Fotopapier, C-Print, Digital, Pigment, Digitalpigment
Peter Andrew Lusztyk
Peter Andrew Lusztyk – Lego „Cowboy“, Fotografie 2021, Druck nach, 2021
1.200 $
Peter Andrew Lusztyk - Lego "Garçon / Kellner", Fotografie 2021, gedruckt nach
Von Peter Andrew Lusztyk
Lego "Garçon / Kellner" Digitaler C-Print / Archivpigmentdruck Auflage von 5 Stück pro Größe Verfügbare Größen: 36 x 24 48 x 36 60 x 48 Die Serie "Collectible" befasst sich auf Makr...
Kategorie
2010er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Fotopapier, C-Print, Digital, Pigment, Digitalpigment
Peter Andrew Lusztyk
Peter Andrew Lusztyk - Lego "Garçon / Kellner", Fotografie 2021, gedruckt nach, 2021
1.200 $
Peter Andrew Lusztyk – Montreal, Fotografie 2021, Druck nach
Von Peter Andrew Lusztyk
Montreal I Digitaler C-Print / Archivpigmentdruck Auflage von 10 Stück pro Größe Verfügbare Größen: 40 x 60 Zoll 60 x 90 Zoll Seit seinen Anfängen hat Lusztyks Projekt Interchanges ...
Kategorie
2010er, Zeitgenössisch, Farbfotografie
Materialien
Archivpapier, Fotopapier, C-Print, Digital, Pigment, Digitalpigment
Peter Andrew Lusztyk
Peter Andrew Lusztyk – Montreal, Fotografie 2021, Druck nach, 2021
2.750 $

Kürzlich angesehen

Alle anzeigen

Hemispheres Away, Contemporary, 21st Century, Polaroid, Figurative Photography

Ähnliche Objekte anzeigen

Stefanie SchneiderHemispheres Away, Contemporary, 21st Century, Polaroid, Figurative Photography2013

Angaben zum Objekt

Anfang der 2000er, Zeitgenössisch, Farbfotografie

Stefanie SchneiderFrenzy II (Sidewinder) – Analog, Polaroid, Zeitgenössisch, 21. Jahrhundert, 2005

Anfang der 2000er, Zeitgenössisch, Farbfotografie

Stefanie SchneiderOhne Titel - Till Death do us Part, analog, montiert, 2009

Anfang der 2000er, Zeitgenössisch, Farbfotografie

Stefanie SchneiderEine Vision, die man nicht erfassen kann, zeitgenössisch, 21. Jahrhundert, Polaroid, Landschaftsfotografie, 2007

Anfang der 2000er, Zeitgenössisch, Figurative Fotografie

Stefanie Schneideraccident II - mit Ewan McGregor und Ryan Gosling, Polaroid, 21. Jahrhundert, Farbe, 2006

Anfang der 2000er, Zeitgenössisch, Figurative Fotografie

Stefanie SchneiderHenry schaute Athena Dance II – 21. Jahrhundert, Zeitgenössisch, Ryan Gosling, 2006

Anfang der 2000er, Zeitgenössisch, Farbfotografie

Stefanie SchneiderBeautiful White Trash Beautiful I - 29 Palms, CA, mit Radha Mitchell, 1999

2010er, Zeitgenössisch, Figurative Fotografie

Tyler ShieldsTyler Shields - High heels (This is not a reflection), 2024, Nachgedruckt, 2024

2010er, Zeitgenössisch, Farbfotografie

Tyler ShieldsTyler Shields – The Mouth, Fotografie 2017, Nachdruck, 2017

2010er, Zeitgenössisch, Figurative Fotografie

Tyler ShieldsTyler Shields - Erdbeere, Fotografie 2024, Nachgedruckt, 2024

2010er, Zeitgenössisch, Farbfotografie

Peter Andrew LusztykPeter Andrew Lusztyk – Lego „Cowboy“, Fotografie 2021, Druck nach, 2021

2010er, Zeitgenössisch, Farbfotografie

Peter Andrew LusztykPeter Andrew Lusztyk - Lego "Garçon / Kellner", Fotografie 2021, gedruckt nach, 2021

2010er, Zeitgenössisch, Farbfotografie

Peter Andrew LusztykPeter Andrew Lusztyk – Montreal, Fotografie 2021, Druck nach, 2021

Kürzlich angesehen

Stefanie Schneider
Hemispheres Away, Contemporary, 21st Century, Polaroid, Figurative Photography
2013

Stefanie Schneider
Frenzy II (Sidewinder) – Analog, Polaroid, Zeitgenössisch, 21. Jahrhundert, 2005

Stefanie Schneider
Ohne Titel - Till Death do us Part, analog, montiert, 2009

Stefanie Schneider
Eine Vision, die man nicht erfassen kann, zeitgenössisch, 21. Jahrhundert, Polaroid, Landschaftsfotografie, 2007

Stefanie Schneider
accident II - mit Ewan McGregor und Ryan Gosling, Polaroid, 21. Jahrhundert, Farbe, 2006

Stefanie Schneider
Henry schaute Athena Dance II – 21. Jahrhundert, Zeitgenössisch, Ryan Gosling, 2006

Stefanie Schneider
Beautiful White Trash Beautiful I - 29 Palms, CA, mit Radha Mitchell, 1999

Tyler Shields
Tyler Shields - High heels (This is not a reflection), 2024, Nachgedruckt, 2024

Tyler Shields
Tyler Shields – The Mouth, Fotografie 2017, Nachdruck, 2017

Tyler Shields
Tyler Shields - Erdbeere, Fotografie 2024, Nachgedruckt, 2024

Peter Andrew Lusztyk
Peter Andrew Lusztyk – Lego „Cowboy“, Fotografie 2021, Druck nach, 2021

Peter Andrew Lusztyk
Peter Andrew Lusztyk - Lego "Garçon / Kellner", Fotografie 2021, gedruckt nach, 2021

Peter Andrew Lusztyk
Peter Andrew Lusztyk – Montreal, Fotografie 2021, Druck nach, 2021