Lukas Brinkmann

With a little Help - Contemporary, Polaroid, 21st Century, Color, Conceptual

2012

Mindscreen 10 - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. artist Inventory No. 244.04. Not mou...

Artificial Flowers II (Suburbia) 1999, 50x60cm, Edition of 1/10. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid, signa...

Winchester (Wastelands) - 2003 Edition of 5, 57x56cm, Analog C-Print, hand-printed and enlarged by the artist on Fuji Crystal Archive Paper, based on the Polaroid, certificate and signature label, Artist inventory Number 1237.04, Not mounted. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had regis- tered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pic- tures. Happiness brimmed in that wild terrain. Maybe things were begin- ning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abol- ish concepts that orient us, cause and effect, time, plot, and story line, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end-result, as posited in this book, will show how she bursts open our apparatus of perception and acknowl- edges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other- worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period...

'Nude in Pink', (Strange Love) - 2010 48x47cm, Edition of 5, analog C-Print printed on Fuji Archive Paper, hand-printed by the artist based on the Polaroid, signature label and ce...

Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the end credit sequence for the movie. 'Jelly Fish'' (Stay) - 2006 50x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate, Artist Inventory Number 5492. Not mounted. ------------------------------------------------ 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? Schneider's ability to control, or at least predict, the outcome of a pack of Polaroid film is a testament to her experience and intuitive understanding of the medium. With years of practice and countless rolls of film, she has honed her skills, shooting from the hip and grounding her decisions in her gut instincts. It's a symbiotic dance, where she juggles the film, the actors, and the set simultaneously. Every aspect of a Stefanie Schneider photo...

Artificial Flowers (Suburbia) 1999, 110x150cm, Edition of 2/3. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on the original Polar...

Chromogenic print on Fujiflex Super Gloss Crystal Archive paper (Edition of 25) Signed, dated, and numbered in black ink, verso This artwork is offered by ClampArt, located in New York City. Jack Pierson was born in 1960 in Plymouth, Massachusetts, and educated at the Massachusetts College of Art in Boston. Pierson's work spans an array of media, including photographs, collages, word sculptures, installations, drawings, and artist's books. He is considered to be part of a group of photographers known as the Boston School, which includes David Armstrong, Philip-Lorca diCorcia, Nan Goldin, Mark Morrisroe, and Doug and Mike Starn...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: All Editions of 3: 18" x 18" 30" x 30" 45" x 45" 60" x 60" Tyler Shields is a...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: All Editions of 3: 30" x 25" 40" x 30" 60" x 50" 72" x 57" 84" x 67" Tyler ...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" Editions of 3 + 2 Artist Proofs Tyler Shi...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" Editions of 3 + 2 Artist Proofs Tyler Shi...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 18" x 18" 30" x 30" 45" x 45" 60" x 60" Editions of 3 + 2 Artist Proofs Tyler Shi...