About The Artwork 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 paintings hanging in several scenes within the movie. Flight of Stairs (Stay) - featuring Naomi Watts, 2006, 20x20cm, Edition of 5/10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory No. 5157.01 not mounted Larger sizes in low editions available on request 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 star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context. Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred. The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling) from killing himself, but succumbs in that endeavor more and more to a whirlpool of inexplicable events. Any further words would already be interpretation and would reduce the significatory potential of the film. The film is loaded with meaning down to the tiniest details―including the notoriously short pants of the protagonist―or it willingly offers itself as a projection screen for speculations. Line-crossings, subjective camera-views of utterly strange figures, and pan-shots in which space and time shift abruptly all serve to confuse the viewer. One scene switches with no transition into paper photography; other scenes hesitate, repeat themselves. The temporal continuum of the film is caught in loops. Figures merge into each other. Miracles occur: blind people regain their sight, the dead are reawakened to life. If it is the continuity of events which distinguishes dream from reality, then everything which the psychiatrist Sam experiences is a dream. It is precisely here, in this intermediate world of imagination and reality, that the film brings paintings into play, and with them the Polaroid photographs of Stefanie Schneider. For even if the paintress Lila drips paint all over herself in the film, in fact her paintings are without exception based on photographic models which―thanks to modern technology―have been printed onto canvas. Bizarre Dream-Worlds Stefanie Schneider’s vague and evanescent Polaroids work towards a painterly impact. The artist, who resides alternately in Berlin and Los Angeles, exclusively uses out-of-date film material. She takes into account chance occurrence, the scarcely predictable waywardness of damaged emulsions. Her associative Polaroids portray a bizarre, film-like world which further enhances the irrealism of Stay. Independently of each other, but not without reason, both Marc Forster and Stefanie Schneider are repeatedly compared with David Lynch. Stranger than Paradise is the title of Schneider’s new photographic volume which, punctually with the start of the film, has been published by Hatje Cantz. The title borrowed from Jim Jarmusch is no accident: Cinema, not artistic photography, is the world from which the former cutter draws her visual models. And whoever has carefully studied the jazzy photographer of her series 29 Palms, CA can recognize beneath the orange-red wigs the cinematic actress Radha Mitchell (Finding Neverland, High Art). A few motifs from this series, which was presented in an extensive edition by the Lumas gallery, are already sold out. The popularity of the artist is rising. But even if Schneider’s gallery makes this claim, her photography does not in fact play a major role in the film Stay. Instead the presence of the Polaroid photographs onscreen is limited to short photographic sequences, to the―admittedly magical―end credits, and to a few paintings on the set. It is precisely here at the periphery, on the symbolical level, however, that the film unfolds its central meaning―for example, when in Lila’s studio photographs of walruses may be seen, a motif which is familiar to the viewer from a previous scene with the art student Henry. In this new context, the images acquire an impact like the visualization of a strange memory. The pictures do not seem to belong to Lila and already anticipate in an allusive manner the peculiar transformation which her paintings undergo at the end of the film. The overlapping of the protagonists has a correspondence in the interpenetration of inner and outer worlds: In another scene, in which Henry visits a table-dance bar, there is a photographic sequence. The flood of sharply highlighted, ever-changing images cannot be unambiguously situated, however. On the one hand, it can be read as a projection in the depicted space; and on the other hand, it presents itself as the stream of consciousness of the protagonist, whose blurred scraps of memory it portrays. Art as Key The photographs do not function in Stay as props for the plot, but instead they are metaphors for the interpenetration of dream and reality. They are not so much motifs as rather means of representation. On the one hand, they are almost seamlessly integrated into the portrayal, but on the other hand―as works of art―they play a key role in the reception of the film. Whoever considers the cinema to be simply an escapist pleasure must have the impression, with regard to Stay, of being in the wrong film. Stay repudiates all expectations regarding genre and demands a fundamental shift of attitude. One can argue about whether this claim is justified, but the film demands to be viewed as a work of art. Not in the sense of contemplative immersion, but in te
About The Artwork Hallway I (Suburbia) 2004, 40x40cm, Edition of 2/5, analog C-Print based, hand-printed by the artist on Fuji Crystal Archive papter, matte surface in her own Color lab in Berlin based on an expired Polaroid photograph. Signature label with Certificate, not mounted. Inventory No. 678.02. The project "Suburbia" was shot on the set of Marc Forster's first feature film "Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, and others. Suburbs collectively, or the people who live in them Suburb { a district, especially a residential one, on the edge of a city or large town } synonyms [Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ] 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, Bombay Beach Biennale 2018. Stefanie Schneider: A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works. What is most striking about Schneider's images is the colour which evokes the appearance of expired Polaroid film. Her role in preserving the use of Polaroid is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' ''The ex-lover experiences the residues of love as an amputee experiences the sensation of a ghost limb.'' - Stefanie Schneider Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider. This sense of absence runs deep through Schneider's work, the fact she even uses expired film means there is a sense of the unknown as she will not know if her subjects have been captured until she is in the dark room. Long before Valencia, Mayfair and Amaro, or any other Instagram filters, Schneider was creating this otherworldliness the image sharing network tries to create. Barnebys, May 3rd, 2017 Original Created:2004 Subjects:Interiors Materials:Other Styles:AbstractMinimalismPop ArtFine ArtImpressionism Mediums:PolaroidColorC-typePhotoAnalog Details & Dimensions Photography:Polaroid on Other Artist Produced Limited Edition of:5 Size:14.1 W x 14.9 H x 0.1 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.
Bien avant Instagram, le cinéaste allemand a accumulé les clichés pris avec son Polaroid, comme s’il remplissait un journal intime. Rencontres, voyages, repérages… Ces images, prises entre 1960 et 1980, font l’objet d’une exposition.
Bulging Speedos, tight Levis, tanned torsos and hosepipes galore: Tom Bianchi’s Polaroids capture summer sexiness through the eroticised male body. Bianchi – a photographer and writer from suburban Ch
If your friends aren't talking about money, wisdom, future, business, or escaping the matrix - you're with the wrong people.
About The Artwork Starlite Motel (California Badlands) - 2010 - 20x24cm, Edition of 10. Digital C-Print, hand-printed by the artist, based on a Polaroid. Certificate and Signature label. Artist Inventory # 10978. Not mounted. Artist statement: Desolation and solitude are two adjectives that I would use to describe my Polaroid photographs, another would be the Japanese term 'Wabi-Sabi'. The simplicity of 'flawed beauty' comes from the expired film I use to create a reflection of love and loneliness. My dream of accepting so called 'imperfection' is in fact a a realizing of a different world view for which there's no way back. The shiny, perfect point of view is crumbling and has been for a long time. Formally, my work was called blurry, broken or even botched but they fail in the test of acceptance that all things are imperfect. It's a seismic shift for some but in this age where the cracks are no longer hidden, the affirmation of reality is still difficult. But that's so depressing right? To acknowledge that the dream is actually turning into a nightmare. It's easier to deny than to utter the truth of defeat. (ruin). That we are all finite is irrefutable but we just don't want to believe it. That's how organized religion managed to take the hold of the masses but that too is waning these days. Proving that everything has it's time, even God. I began expressing myself through photography before the digital age we currently inhabit and certainly predating 'instagram'. Understanding the skill of analog film which requires that conditions be right before the click of the shutter is in stark contrast to todays, post production photography. The celebration of imperfection reconnects us to the real world where we normally mask our flaws. I chose Polaroid film because it portrays color like candy making even the broken an expression of endearment. The combination of the color and the blemishes of expired Polaroid analog film gave me a sense of inner peace with my surroundings. It just fit. Nothing had portrayed my vision so symbolically. Frankly, It's liberating. The quirks, oddities or the perfectly imperfect uniqueness of my work relate to our own life blemishes and somehow make them ok or even remarkable. Honoring that value of imperfection makes it permissible to be. One might put the world into two camps, the ones who appreciate the beauty of imperfection and the ones who don't. Let me warn you now, those who attempt to see and are successful, can never return. To see that perspective is to have gone into a twilight zone of understanding where your former self is altered forever and the once revered is no longer possibly seen with beauty. Allowing space and time for the magic moment to manifest and capturing that enchantment. I use my senses and current affairs to plot that path of serendipity especially when it's a mark of turbulence. The upheaval of balance is the key for chance and allows all unknown forces to contribute to the moment. This is what it means to me. The first rule in art is that there are no rules. I look inside myself, ground that emotion and imagine it in a dream. It's the only thing that make any sense to me. Dreams are the foundation of emotion and the link to our sub-conscience. The link between my work and your sub-conscience is that you're allowed to insert yourself into the story itself. I try to clarify my nightly dreams subjectively with a cup of nostalgia in a bowl of emotions and sprinkle it generously with sex. It is there, the fountain of our instincts. Original Created:2010 Subjects:Landscape Materials:Other Styles:ConceptualFine ArtPop ArtExpressionismModern Mediums:ColorPolaroidC-typePhoto Details & Dimensions Photography:Color on Other Artist Produced Limited Edition of:10 Size:9.4 W x 7.9 H x 0.1 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.
About The Artwork 'Gas station at Night I' Stranger than Paradise, 1999, 37x36cm, Edition of 3/30, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory Nr. 391.23, not mounted, STRANGER THAN PARADISE published by Hatje Cantz Verlag, Ostfilder, 2006, (monography) Stefanie Schneider: 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 whereas her photos from the seventies are characterized by a cool, objective mode of representation in historicizing blackand-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 dream scapes. 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, Bombay Beach Biennale 2018 / 2019. Original Created:1999 Subjects:Light Materials:Other Styles:Pop ArtFine ArtConceptualExpressionismSurrealism Mediums:PolaroidColorC-typeanalogPhoto Details & Dimensions Photography:Polaroid on Other Artist Produced Limited Edition of:30 Size:14.2 W x 15 H x 0.1 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.
About The Artwork Mindscreen 7, 1999, 58x56cm, Edition 3/10. Analog C-Print, hand-printed by the artist, based on an expired Polaroid. Signature label and Certificate. Artist Inventory No. 248.03. Not mounted. Published in the catalog for the group exhibition 'Night On Earth', Städtischen Ausstellungshalle am Hawerkamp, Münster, April - Mai, 2001 Ralf Christofori - aus dem Katalog "Night On Earth" zur gleichnamigen Ausstellung in der Städtischen Ausstellungshalle am Hawerkamp, Münster, April - Mai, 2001 Stefanie Schneider's photographs are reminiscent of scintillating situations located on the edge between daydreams and sleeping dreams. All of the scenes she has shot in the South West of the USA seem surreally enraptured, and the artist herself seems only to act inasmuch as she gives the decisive impulse. The people who are photographed are no more tangible than the motives for their activities or the storylines of the photo sequences. Atmospheric disturbances are in Stefanie Schneider's work the result of a narrative arrangement, which forces the viewer in between visual mementos and gaps in memories. But simultaneously the artist is working no less purposefully with media, and although their own momentum is calculable, the material that is introduced is largely uncontrollable: the best-before date on the Polaroid film pack has long since expired; the photo-chemical self-developing process takes the exposure and alienates. This dysfunction is a fundamental element in the artist's work Mind Screen, which consists of several parts. She confronts the brittleness of the real, the genuine and the comprehensible with a magical realism dipped in chimaeras to produce dreamlike sequences. And she leaves the content of a presumed storyline up to the viewer. There is no user's manual here for people to follow: in its place, everything succumbs to the draw of these unreal, shimmering scenes, the Fata Morgana of a road movie, an act of violence or a tragic self-sacrifice. Film genres are brought in and taken away in the same breath. Wim Wenders' Paris, Texas turns out to have been shot through a rose-tinted lens, Thelma and Louise proves to be a popular ditty about a heroic mass mobilisation, whilst The Good, the Bad and the Ugly mutually destroy themselves. Things shimmer and flicker before our eyes: we are unable to step out of this dream, nor are we able to verify it. German: Stefanie Schneiders Fotografien erinnern an Situationen, die zwischen Tag- und Nachttraum changieren. Sämtliche ihrer im Südwesten der USA aufgenommenen Szenen wirken surreal entrückt, und die Künstlerin selbst scheint als Akteurin lediglich den ausschlaggebenden Impuls zu geben. Die Personen, die sie fotografiert, sind genauso wenig greifbar, wie die Handlungsmotive oder Erzählstränge der fotografischen Serien. Atmosphärische Störungen sind bei Stefanie Schneider das Resultat eines narrativen Arrangements, das den Betrachter zwischen Erinnerungslücken und –bilder zwingt. Es sind aber ebenso gezielte mediale Einsätze, mit denen die Künstlerin arbeitet, Einsätze, welche auf die Eigendynamik zwar kalkulierbaren, aber weitgehend unkontrollierten Materials setzt: Das Verfallsdatum der von ihr verwendeten Polaroidfilme ist weit überschritten; der fotochemische Prozeß der Selbstentwicklung lichtet ab und verfremdet. Diese Dysfunktion ist wesentlicher Teil der mehrteiligen Arbeit Mind Screen. In traumartigen Sequenzen konfrontiert sie die Brüchigkeit des Realen, Wirklichen und Begreifbaren mit einem in Schimären getauchten magischen Realismus. Den Gehalt einer vermeintlichen Geschichte überläßt sie den Betrachtern. Keine Handlungsanweisung soll hier befolgt werden, es wirkt der Sog dieser irreal flirrenden Szenen, die Fata Morgana eines Road Movies, eines Gewaltaktes oder einer tragischen Selbstaufgabe. Filmische Genres werden bedient und im selben Atemzug wieder entzogen. Wim Wenders' 'Paris, Texas' entpuppt sich als handkolorierte Schönfärberei, 'Thelma and Louise' als Gassenhauer eines heroischen Großaufgebots, während sich 'the Good, the Bad and the Ugly' gegenseitig zugrunde richten. Es schimmert und flirrt vor den Augen: Wir können aus dem Traum heraustreten, verifizieren können wir ihn nicht. 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. Original Created:1999 Subjects:Cities Materials:Other Styles:ConceptualPop ArtFine ArtExpressionismModern Mediums:PolaroidColorC-typePhotoAnalog Details & Dimensions Photography:Polaroid on Other Artist Produced Limited Edition of:10 Size:22 W x 22 H x 0.1 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.
Explore marion (milky soldier)'s 1610 photos on Flickr!
Dutch cinematographer Robby Müller (1940-2018) was a “master of light”. Whilst working with Wim Wenders (he shot 12 of the German director’s features including Summer in the City, Alice in the Cities, The American Friend and Paris, Texas) and Jim Jarmusch (Down By Law) between the early 1970s and late 1990s, Müller took polaroid … Continue reading "Capturing the Present in the Lush Polaroids of Celebrated Cinematographer Robby Müller"
Take a look back at Tom Bianchi's fleshy Polaroids of New York’s Fire Island, which then and now served as a highly toned, highly sexual refuge for the LBGT community.
About The Artwork Henry watching Athena Dance (Stay) III - with Ryan Gosling, 2006, 38x36cm, Edition of 10, Digital C-Print, based on an original Polaroid. Certificate and Signature label. Artist Inventory No. 5065. Not mounted. featuring Ryan Gosling. Stefanie Schneider's art work was used for the Marc Forster 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. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13 Photography Art Cinema. Revisited Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred. The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling) from killing himself, but succumbs in that endeavor more and more to a whirlpool of inexplicable events. Any further words would already be interpretation and would reduce the significatory potential of the film. The film is loaded with meaning down to the tiniest details―including the notoriously short pants of the protagonist―or it willingly offers itself as a projection screen for speculations. Line-crossings, subjective camera-views of utterly strange figures, and pan-shots in which space and time shift abruptly all serve to confuse the viewer. One scene switches with no transition into paper photography; other scenes hesitate, repeat themselves. The temporal continuum of the film is caught in loops. Figures merge into each other. Miracles occur: blind people regain their sight, the dead are reawakened to life. If it is the continuity of events which distinguishes dream from reality, then everything which the psychiatrist Sam experiences is a dream. It is precisely here, in this intermediate world of imagination and reality, that the film brings paintings into play, and with them the Polaroid photographs of Stefanie Schneider. For even if the paintress Lila drips paint all over herself in the film, in fact her paintings are without exception based on photographic models which―thanks to modern technology―have been printed onto canvas. Bizarre Dream-Worlds Stefanie Schneider’s vague and evanescent Polaroids work towards a painterly impact. The artist, who resides alternately in Berlin and Los Angeles, exclusively uses out-of-date film material. She takes into account chance occurrence, the scarcely predictable waywardness of damaged emulsions. Her associative Polaroids portray a bizarre, film-like world which further enhances the irrealism of Stay. Independently of each other, but not without reason, both Marc Forster and Stefanie Schneider are repeatedly compared with David Lynch. Stranger than Paradise is the title of Schneider’s new photographic volume which, punctually with the start of the film, has been published by Hatje Cantz. The title borrowed from Jim Jarmusch is no accident: Cinema, not artistic photography, is the world from which the former cutter draws her visual models. And whoever has carefully studied the jazzy photographer of her series 29 Palms, CA can recognize beneath the orange-red wigs the cinematic actress Radha Mitchell (Finding Neverland, High Art). A few motifs from this series, which was presented in an extensive edition by the Lumas gallery, are already sold out. The popularity of the artist is rising. But even if Schneider’s gallery makes this claim, her photography does not in fact play a major role in the film Stay. Instead the presence of the Polaroid photographs onscreen is limited to short photographic sequences, to the―admittedly magical―end credits, and to a few paintings on the set. It is precisely here at the periphery, on the symbolical level, however, that the film unfolds its central meaning―for example, when in Lila’s studio photographs of walruses may be seen, a motif which is familiar to the viewer from a previous scene with the art student Henry. In this new context, the images acquire an impact like the visualization of a strange memory. The pictures do not seem to belong to Lila and already anticipate in an allusive manner the peculiar transformation which her paintings undergo at the end of the film. The overlapping of the protagonists has a correspondence in the interpenetration of inner and outer worlds: In another scene, in which Henry visits a table-dance bar, there is a photographic sequence. The flood of sharply highlighted, ever-changing images cannot be unambiguously situated, however. On the one hand, it can be read as a projection in the depicted space; and on the other hand, it presents itself as the stream of consciousness of the protagonist, whose blurred scraps of memory it portrays. Art as Key The photographs do not function in Stay as props for the plot, but instead they are metaphors for the interpenetration of dream and reality. They are not so much motifs as rather means of representation. On the one hand, they are almost seamlessly integrated into the portrayal, but on the other hand―as works of art―they play a key role in the reception of the film. Whoever considers the cinema to be simply an escapist pleasure must have the impression, with regard to Stay, of being in the wrong film. Stay repudiates all expectations regarding genre and demands a fundamental shift of attitude. One can argue about whether this claim is justified, but the film demands to be viewed as a work of art. Not in the sense of contemplative immersion, but in terms of an active reception. Meaning cannot be derived directly from the film. Meaning is an addition made by the viewer. If Stay has a special message, then it is this: Everyone constructs his or her own film. In fact, in Stay there is a short scene which takes place in the art academy and may be understood as an interpretative instruction. On the basis of a painting, the professor offers a lesson which can be expressed in two simple formulas. First, everything is significant. And second, everything is somehow connected with everything else. The individual elements of the film must be decoded and set into relationship with each other. After the Film is Before the Film With director Marc Forster and photographic artist Stefanie Schneider, two coequal partners are at work. The photographer brings her style-generating aesthetic into the cinematic representation. She appears as the author of her images, not as the executor of instructions from the director. This status is also evident in the participation of the artist in the press conference and in the fact that the premiere party took place in Stefanie Schneider’s gallery Lumas. Whoever came early or stayed late could here take an unobstructed look at the pictures and review the film at leisure. With regard to the photographs, one is inclined to see the film a second time. But also in the retrospective photographs after the film, the puzzle-game continues. “This is the way it was,” each photograph seems to say. But were things really that way? In fact, the poetically blurred Polaroid photographs do not provide a documentation, but rather an interpretation of the film from an artistic perspective which is lost in reverie. On the one hand, they make selections from the cinematic plot, and on the other hand, they transcend these happenings. The film photos become autonomous and make reference, not to filmic “facts,” but to other possibilities―to that which might have been, to the inherent fictionality of the film. Original Created:2006 Subjects:Celebrity Materials:Other Styles:ConceptualPop ArtFigurativeFine ArtExpressionism Mediums:PolaroidColorC-typePhoto Details & Dimensions Photography:Polaroid on Other Artist Produced Limited Edition of:10 Size:15 W x 15 H x 0 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.