BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography

View Similar Items

Stefanie Schneider - Miss Moneypenny with Beach Ball (Heavenly Falls)

Clare Marie Bailey - Red or Dead - Contemporary, Polaroid, Women, Figurative, Portrait, Photography

Carmen de Vos - Read till you need no more…Words - from the series Schoffie

Clare Marie Bailey - Some Lapse of Time - Contemporary, Polaroid, Photograph, Figurative, Portrait

Clare Marie Bailey - Silencio - Contemporary, Polaroid, Women, Figurative, Portrait

Stefanie Schneider - Girl at Fence (Last Picture Show) - mounted, analog

Clare Marie Bailey - Solitude - Contemporary, Polaroid, Woman, 21st Century

Kirsten Thys van den Audenaerde - Breakdown - Contemporary, Polaroid, vintage Cars, Color, Women, 21st Century

Clare Marie Bailey - The Green Ray - Contemporary, Polaroid, Photograph, Figurative, Portrait

Kirsten Thys van den Audenaerde - Breakdown - Contemporary, Polaroid, vintage Cars, Color, Women, 21st Century

Clare Marie Bailey - Time - Contemporary, Super-8, Women, Figurative, Portrait, Contemporary, Color

Clare Marie Bailey - Sun in Pisces - Contemporary, Polaroid, Women, Figurative, Portrait

Want more images or videos?

Request additional images or videos from the seller

1 of 3

Stefanie Schneider
BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography
2009

About the Item

"Bring Ya to the Brink" (Cyndi Lauper record Album cover shoot) 2016, 20x20cm, Edition 2/5 digital C-Print based on a Polaroid, mounted on Aluminum with matte UV-Protection Certificate and signature label, artist inventory number: 11003.02 Stefanie Schneider interviewed by Dutch Filmmaker Willem Baptist for Instant Dreams Documentary coming out at the end of the year 2017. published in the the catalog 'Instantdreams' When did you first decide to work with Polaroids? Why do Polaroids seem to be so well tuned to our (artistic) senses, perception and minds? I started using expired Polaroid film in 1996. It has the most beautiful quality and encapsulates my vision perfectly. The colors on one hand, but then the magic moment of witnessing the image appear. Time seems to stand still, and the act of watching the image develop can be shared with the people around you. It captures a moment, which becomes the past so instantly that the decay of time is even more apparent; – it gives the image a certain sentimentality. The Polaroid moment is an original every time. Why use a medium from the past? For me, analog has always been there in the present. For the new generation, analog is interesting because it's new to them. I understand that people growing up in a digital age will wonder about its usefulness, but it's theirs to recover if they want to. When I first started working with Polaroid, it wasn't the past. It was a partially forgotten medium, but it existed nonetheless. It is mine by choice. There is no substitute for tangible beauty. Is it imperfect? The imperfect perfection in a “wabi-sabi” kind of way. Wabi-sabi (侘寂) represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".[1] 'If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi' [2] 'Wabi-sabi nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.'[3] Is the Polaroid photograph recognizable or even sometimes cliché? Absolutely! There's something cliché about the way I'm showing the American Dream. I live it myself, trying to find perfection in an imperfect world. Reaching for the horizon. The dream is broken; the cliché tumbles. There are different ways to involve an audience. You could make movies like Harmony Korine's "Gummo", a masterpiece in my view, which would estrange a large part of the audience. A certain film education is a prerequisite. Or you can start with clichés, the audience then feels safe, which lures them into the depth of your world without them even knowing it or understanding where exactly they are being led to. Appealing to emotions and the sub-conscious. Normal, Change, New Normal. You continually revisit the landscape of the American West in your work. What draws you back to this scene? Southern California represents a dream to me. The contrast of Northern Germany, where I grew up, to the endless sunshine of Los Angeles was what first attracted me. The American West is my dream of choice. Wide, open spaces give perspectives that articulate emotions and desires. Isolation feeds feelings of freedom or sometimes the pondering of your past. The High Desert of 29 Palms has very clear and vivid light, which is vital. Expired Polaroid film produces 'imperfections' that I would argue mirrors the decline of the American dream. These so called 'imperfections' illustrate the reality of that dream turning into a nightmare. The disintegration of Western society. Are you playing with the temporality of the material and the value of the moment itself? The value of the moment is paramount, for it is that moment that you're trying to transform. All material is temporary, it's relative, and time is forever. Why does analog film feel more pure and intuitive? It's tangible and bright and represents a single moment. The digital moment may stay in the box (the hard drive / camera / computer etc.) forever, never to be touched, put into a photo album, sent in a letter, or hung on a wall. Printing makes it an accomplishment. The analog world is more selective, creating images of our collective memory. The digital worldwide clicking destroys this moment. The generation without memories due to information overload and hard drive failures. Photo albums are a thing of the past. Why does it feel this way? That's how the human instinct works. When I was a child, every picture been taken was a special moment. Analog photographic film as well as Super-8 material were expensive treasures. My family's memories were created by choosing certain moments in time. There was an effort behind the picture. The roll of film might wait months inside the camera before it was all used. From there, the film required developing, which took more time, and finally, when the photos were picked up from the shop, the memories were visited again together as a family. Who knew then, how fleeting these times were. Shared memories was a ritual. What's your philosophy behind the art of Polaroid pictures? The 'obsolete' is anything but obsolete. Things are not always as they appear, and there are hidden messages. Our memories and our dreams are under-valued. It is there that real learning and understanding begins by opening yourself to different perspectives. What inspired you to use stop motion cinematography? My work has always resembled movie stills. I remember the first time I brought a box of Polaroids and slid them onto Susanne Vielmetter's desk (my first gallery). Instantly, it became apparent that there was a story to tell. The stories grew. It was undeniable to me, that the emerging story was where I was destined to go. I've made four short films before my latest feature film, "The Girl behind the White Picket Fence". This film is 60 minutes long with over 4000 edited Polaroids. It's important to remember that our sub-conscious fills in the blanks, the parts missing from the story allow a deeper and more personal experience for the viewer. That is, if you surrender yourself and trust me as the director to lead you somewhere you might not have been before. Why do you think it is important to own art? 'We have art in order not to die of the truth' Nietzsche 1 Koren, Leonard (1994). Wabi-Sabi for Artists, Designers, Poets and Philosophers. Stone Bridge Press. ISBN 1-880656-12-4. 2 Juniper, Andrew (2003). Wabi Sabi: The Japanese Art of Impermanence. Tuttle Publishing. ISBN 0-8048-3482-2. 3 Powell, Richard R. (2004). Wabi Sabi Simple. Adams Media. ISBN 1-59337-178-0.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2009
Dimensions:
Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.12 in (3 mm)
Medium:
Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU65235506602

BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography

View Similar Items

Stefanie Schneider
BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography
2009

About the Item

2010s Contemporary Color Photography

Clare Marie Bailey
Red or Dead - Contemporary, Polaroid, Women, Figurative, Portrait, Photography, 2020

Early 2000s Contemporary Color Photography

Carmen de Vos
Read till you need no more…Words - from the series Schoffie, 2009

2010s Contemporary Color Photography

Clare Marie Bailey
Some Lapse of Time - Contemporary, Polaroid, Photograph, Figurative, Portrait, 2018

2010s Contemporary Color Photography

Clare Marie Bailey
Silencio - Contemporary, Polaroid, Women, Figurative, Portrait, 2020

1990s Contemporary Color Photography

Stefanie Schneider
Girl at Fence (Last Picture Show) - mounted, analog, 2005

2010s Contemporary Figurative Photography

Clare Marie Bailey
Solitude - Contemporary, Polaroid, Woman, 21st Century, 2022

2010s Contemporary Color Photography

Gianfranco Pezzot
Italian Contemporary Art by Gianfranco Pezzot - Jerusalem, 2018

2010s Contemporary Color Photography

Gianfranco Pezzot
Italian Contemporary Art by Gianfranco Pezzot - Sensibility, 2018

2010s Contemporary Color Photography

Gianfranco Pezzot
Italian Contemporary Art by Gianfranco Pezzot - Unconscious Displacement, 2018

2010s Contemporary Color Photography

Ben Thomas
Bondi Heights 2 by Ben Thomas, 2018

Early 2000s Contemporary Color Photography

Karine Laval
Untitled #27, Oslo - Karine Laval, Travel photography, Contemporary imagery, 2002

Early 2000s Contemporary Color Photography

Karine Laval
Untitled #18, Annency - Karine Laval, Ocean photography, Travel imagery, 2002

Recently Viewed

BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography

View Similar Items

Stefanie Schneider BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography2009

About the Item

2010s Contemporary Color Photography

Clare Marie BaileyRed or Dead - Contemporary, Polaroid, Women, Figurative, Portrait, Photography, 2020

Early 2000s Contemporary Color Photography

Carmen de VosRead till you need no more…Words - from the series Schoffie, 2009

2010s Contemporary Color Photography

Clare Marie BaileySome Lapse of Time - Contemporary, Polaroid, Photograph, Figurative, Portrait, 2018

2010s Contemporary Color Photography

Clare Marie BaileySilencio - Contemporary, Polaroid, Women, Figurative, Portrait, 2020

1990s Contemporary Color Photography

Stefanie SchneiderGirl at Fence (Last Picture Show) - mounted, analog, 2005

2010s Contemporary Figurative Photography

Clare Marie BaileySolitude - Contemporary, Polaroid, Woman, 21st Century, 2022

2010s Contemporary Color Photography

Gianfranco PezzotItalian Contemporary Art by Gianfranco Pezzot - Jerusalem, 2018

2010s Contemporary Color Photography

Gianfranco PezzotItalian Contemporary Art by Gianfranco Pezzot - Sensibility, 2018

2010s Contemporary Color Photography

Gianfranco PezzotItalian Contemporary Art by Gianfranco Pezzot - Unconscious Displacement, 2018

2010s Contemporary Color Photography

Ben ThomasBondi Heights 2 by Ben Thomas, 2018

Early 2000s Contemporary Color Photography

Karine LavalUntitled #27, Oslo - Karine Laval, Travel photography, Contemporary imagery, 2002

Early 2000s Contemporary Color Photography

Karine LavalUntitled #18, Annency - Karine Laval, Ocean photography, Travel imagery, 2002

Recently Viewed

Stefanie Schneider
BYTTB, Contemporary, 21st Century, Polaroid, Figurative Photography
2009

Clare Marie Bailey
Red or Dead - Contemporary, Polaroid, Women, Figurative, Portrait, Photography, 2020

Carmen de Vos
Read till you need no more…Words - from the series Schoffie, 2009

Clare Marie Bailey
Some Lapse of Time - Contemporary, Polaroid, Photograph, Figurative, Portrait, 2018

Clare Marie Bailey
Silencio - Contemporary, Polaroid, Women, Figurative, Portrait, 2020

Stefanie Schneider
Girl at Fence (Last Picture Show) - mounted, analog, 2005

Clare Marie Bailey
Solitude - Contemporary, Polaroid, Woman, 21st Century, 2022

Gianfranco Pezzot
Italian Contemporary Art by Gianfranco Pezzot - Jerusalem, 2018

Gianfranco Pezzot
Italian Contemporary Art by Gianfranco Pezzot - Sensibility, 2018

Gianfranco Pezzot
Italian Contemporary Art by Gianfranco Pezzot - Unconscious Displacement, 2018

Ben Thomas
Bondi Heights 2 by Ben Thomas, 2018

Karine Laval
Untitled #27, Oslo - Karine Laval, Travel photography, Contemporary imagery, 2002

Karine Laval
Untitled #18, Annency - Karine Laval, Ocean photography, Travel imagery, 2002