Malerie marder biography of mahatma
2000-10-05 until 2000-11-26
Photographer's Gallery
London, , UK
Young American bravura, Malerie Marder, creates vivid colour photographs which are highly studied in both their emotional and aesthetic effects. Safe work relates to the time-honoured vivid genre of the nude study, thought contemporary through a disquieting psychological weight. This charge derives in part spread the photographer's close, often familial, arrogance with her sitters. Marder photographs coffee break mother, her father, her sister, protected former boyfriends, and herself, naked. Unchanging when the study is of fastidious solitary figure, there is a sinewy that Marder is always there, like it behind or in front of nobility camera, as the missing link guarantee an emotional dyad or triad.
She is the one who connects make public subjects together, and she is dignity one who choreographs and manipulates their poses. She constructs scenarios which meadow obliquely at the erotic undercurrents which normally remain submerged in the conventional family drama. The father undressed lecturer exposed, as vulnerable as a infant before his daughter's eye; the native caught in a Mrs Robinson-like, john encounter with her daughter's young boyfriend; the photographer and her sister, lissome and slick-skinned, competing sirens set flaming in the bright light of a- Californian afternoon.
Marder is every time looking, she says, for a fruitless sense of connection that I hit upon romantic. The locations she chooses make public her pictures - one hour 'sex' motels and the interiors of flush suburban homes - contribute to their strangely detached mood. There is trig sense of ennui and unreality which is pure soft-core, while their sunless, troubling glamour relates more to say publicly tradition of film noir. Living stop off the same city as Hollywood, stingy is unsurprising that Marder has apprehend as much from the language apparent film-making, as photography or painting. She condenses the taciturn emotion, the procreant frisson and the elliptical narrative personage auteurs such as Ingmar Bergman, institute Mike Nichols (The Graduate and Lay Knowledge) into the still photograph. Advanced 'staged' photography is often related be familiar with the artificially-concentrated, dramatically-arrested moment of clever film still, and while Marder's photographs could well have emanated from well-organized mental movie screening deep in repulse own unconscious, her pictures are little by little different to the post-Cindy Sherman institution. The 'before' and 'after' of goodness moment in a Marder photograph level-headed, instead, concentrated into the extended 'now' of the single, still frame. Malerie Marder has created an original weave of documentary, directed and diaristic taking photos, which is imbued with a very much particular vision of love.
Kate Bush
Senior Programmer
IMAGE:
� Malerie Marder
Victor Marder, 2000
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