|
Ever since she first started exhibiting her photos in
the late 1990s, Marder has explored the psychosexual undertow of her own
intimate relationships, frequently 'shooting herself along with family and
friends in close quarters' (including pay-by-the-hour motels) and, usually,
undressed. Her work flirts with prurience, with ideas of privacy and
surveillance, eroticism and pornography, and the complications of
love.
Discussing Carnal Knowledge, Marder says: "I used to have anxiety about my
pictures exposing things too private, but the real intimacies are censored out.
I still get pangs of self-consciousness, but it's too late for regret. What was
I thinking when I made the pictures? This is in no particular order: fate, kink,
performance, a secret, nostalgia, sensual memory, voyeurism, nighttime settings,
barren rooms, stark lighting, romantic trysts, foreign environments, intimacy,
lack of intimacy, connection, lack of connection, self-reflection, lack of
selfreflection, awkwardness, isolation, random, purpose, shadow, vulnerability,
immaturity, innocence, amorous bodies, ambiguity, cocoons of emotion, modernist
architecture, transience, lurid smells, a patient's sickbed, love, eroticism,
clarity, blushing, bruised, family, boyfriends, conflict, loyalty, disapproval,
neuroticism, narcissism,
truculence, numbness, sexual discomfort, subconscious, and the past. None of it
is relevant now."*
Marder's most recent project, titled 'Anatomy', has been photographing
call girls and their customers in a brothel in Rotterdam in the
Netherlands.
Carnal Knowledge, published in May by Violette Editions, includes 70 works
by Marder and features a preface by Gregory Crewdson, a text by novelist James
Ellroy, short stories inspired by Marder's works by A.M. Homes, James Frey and
Bruce Wagner, and a written and photographic correspondence between Marder and
Philip-Lorca
diCorcia.
For further information regarding the book, please visit www.violetteeditions.com
or email press@violetteeditions.com.
For further information on the exhibition, please contact Mark
Inglefield
T: +44 758 419 9500 | E: mark@blainsouthern.com
Notes to
Editors:
Marder studied at Bard College with Stephen Shore and at Yale University
with Gregory Crewdson, Philip-Lorca diCorcia and Nan Goldin, where she won the
Schicke-Collingwood Prize and John Ferguson Weir Award. Her work is in several
international collections, including the Metropolitan Museum of Art, New York,
the National Gallery of Victoria (Melbourne) and the Solomon R. Guggenheim
Museum (New York). She lives and works in Los
Angeles.
* Taken from an email correspondence between Marder and the celebrated American
photographer, Philip-Lorca
diCorcia
|
