Marti Friedlander, 'Rauwha Tamaiparea', Taranaki, 1970, vintage silver gelatin print.
Photo Credit
Starkwhite Queenstown is delighted to present our first exhibition of Marti Friedlander’s work in partnership with the Marti Friedlander Estate.
One of NZ’s most celebrated photographers of this land and its people, Marti Friedlander (1928-2016) had an almost sixty year career. She arrived from England in early 1958 and was taking photographs until shortly before her death. From the early 1960s on she became one of the best-known and most admired photographers here; her work reproduced in periodicals and books and exhibited ever more widely, especially after the Auckland Art Gallery-organised retrospective in 2001, which toured the country.
Friedlander's subjects are diverse – city, suburban, small town, rural, and one ‘wilderness’ (Mitre Peak Milford Sound), various kinds of protests and demonstrations, work and ceremonies, as well as their equally diverse human inhabitants and participants.
Appearances may be deceptive, and Marti Friedlander’s photographs often probe beyond surfaces and visualise social and psychological conditions, ambivalences and ambiguities, which might be difficult to articulate otherwise. You need to look closely not just what she photographed, but also, and crucially, at how she pictured her subjects. Each photograph in this exhibition could be the starting point of a complicated story – as the best photographs are.
Starkwhite Queenstown is delighted to present our first exhibition of Marti Friedlander’s work in partnership with the Marti Friedlander Estate.
One of NZ’s most celebrated photographers of this land and its people, Marti Friedlander (1928-2016) had an almost sixty year career. She arrived from England in early 1958 and was taking photographs until shortly before her death. From the early 1960s on she became one of the best-known and most admired photographers here; her work reproduced in periodicals and books and exhibited ever more widely, especially after the Auckland Art Gallery-organised retrospective in 2001, which toured the country.
Friedlander's subjects are diverse – city, suburban, small town, rural, and one ‘wilderness’ (Mitre Peak Milford Sound), various kinds of protests and demonstrations, work and ceremonies, as well as their equally diverse human inhabitants and participants.
Appearances may be deceptive, and Marti Friedlander’s photographs often probe beyond surfaces and visualise social and psychological conditions, ambivalences and ambiguities, which might be difficult to articulate otherwise. You need to look closely not just what she photographed, but also, and crucially, at how she pictured her subjects. Each photograph in this exhibition could be the starting point of a complicated story – as the best photographs are.
