Marti Domination Work | Artist Statement & CV | Return to Artist List
You must be logged in to advance Nominee.
You must be a selection to view advance submissions.
Artist Statement
Working late at night with low-budget consumer devices (still and video cameras) I record motifs of rough glamour. I use a small, light-sensitive digital camera, with low resolution. This gives my work a hyper verité, grainy quality, similar to 35mm high-speed film. If I find myself in a situation with virtually no light, I use flash to get a hard “crime scene” look.
I love to photograph the human face, details of the body, and habitual behaviors. Extreme close-ups have a theatrical intent, as well as creating portrait fragments. While I am working in a documentary tradition, I share a nocturnal camaraderie with all of my subjects. Like a director, I take a cinematic approach to the imagery. I keep storyboards in my head, consisting of stark, incessant iconography: the smoker, the eye, the hand, the cigarette, the mirror, the beer. I take the same types of pictures over and over again. There is something therapeutic about the trancelike repetition. I present my work in clusters of photographs, using vintage or handmade frames to give a movie-star treatment to the display.
I have lived in Manhattan for 24 years, photographing certain people throughout this entire time, building ongoing suites of portraits. I feel very much a part of the New York continuum and its cyclical phenomenon, as one of those who are drawn to any large city in search of a home. Late night New York provides an essential intimacy between people. It is the last part of the real city.
Working late at night with low-budget consumer devices (still and video cameras) I record motifs of rough glamour. I use a small, light-sensitive digital camera, with low resolution. This gives my work a hyper verité, grainy quality, similar to 35mm high-speed film. If I find myself in a situation with virtually no light, I use flash to get a hard “crime scene” look.
I love to photograph the human face, details of the body, and habitual behaviors. Extreme close-ups have a theatrical intent, as well as creating portrait fragments. While I am working in a documentary tradition, I share a nocturnal camaraderie with all of my subjects. Like a director, I take a cinematic approach to the imagery. I keep storyboards in my head, consisting of stark, incessant iconography: the smoker, the eye, the hand, the cigarette, the mirror, the beer. I take the same types of pictures over and over again. There is something therapeutic about the trancelike repetition. I present my work in clusters of photographs, using vintage or handmade frames to give a movie-star treatment to the display.
I have lived in Manhattan for 24 years, photographing certain people throughout this entire time, building ongoing suites of portraits. I feel very much a part of the New York continuum and its cyclical phenomenon, as one of those who are drawn to any large city in search of a home. Late night New York provides an essential intimacy between people. It is the last part of the real city.
CV
EXHIBITIONS AND PERFORMANCES
2010 – “Brion Gysin: Dream Machine,” New Museum, New York, performance
2010 – “Girls Don’t Count,” Shadow’s Space, Philadelphia
2010 – “Dead Flowers,” Vox Populi, Philadelphia and Participant Inc, New York, photography and performance
2009 – “Benefit: Timeline,” Participant Inc, performance
2009 – “Sapphire and Sword,” curated by Micki Pellerano, Live with Animals Gallery, Brooklyn, performance
2008 – “s/he is still her/e,” Participant Inc, photography and performance
2007 – “Coney Island USA,” Max Fish, NY
2004 – “Works and Process,” with Jonathan Bepler and Matthew Barney, for “Matthew Barney: The Cremaster Cycle,” Solomon R. Guggenheim Museum, New York, performance
2004 – “NYC Sex: How New York City Transformed Sex in America,” Museum of Sex, New York
2004 – “Seka’s DNA”, The Tasting Room, NY
2002 – “Greatest Hits,” Niagara, NY
2000 – “Ribbon of Dreams,” Museum für Gegenwartskunst, Basel, Switzerland, photography and performance
1998 – “The White Dahlia,” opening performance for “Cremaster 1,” Museum für Gegenwartskunst, Basel, Switzerland
1996 – “March of the anal sadistic warrior,” performance for Matthew Barney film, Museum Boijmans Van Beuningen, Rotterdam, Netherlands
1993 – “Stations of the Cross,” performance with Blacklips Performance Cult, SoHo Guggenheim, New York
RESIDENCIES
1999-2000 – Stiftung Laurenz-Haus, Basel, Switzerland
WORK EXPERIENCE
Freelance photographer: The New York Times Magazine, Mojo, Bomb, Swoon, Flipside, The Guardian UK
Album covers: Sony, American Recordings, Warner Brothers, Chrysalis, Sympathy for the Record Industry, SST
Publicity portraits: Spin, Billboard, Marvel Comics
EDUCATION
1983-84 – Study of infrared photography, Rochester Institute of Technology, Rochester, NY
1982 – BA in Film/Video, UNC-Chapel Hill, Chapel Hill, NC
EXHIBITIONS AND PERFORMANCES
2010 – “Brion Gysin: Dream Machine,” New Museum, New York, performance
2010 – “Girls Don’t Count,” Shadow’s Space, Philadelphia
2010 – “Dead Flowers,” Vox Populi, Philadelphia and Participant Inc, New York, photography and performance
2009 – “Benefit: Timeline,” Participant Inc, performance
2009 – “Sapphire and Sword,” curated by Micki Pellerano, Live with Animals Gallery, Brooklyn, performance
2008 – “s/he is still her/e,” Participant Inc, photography and performance
2007 – “Coney Island USA,” Max Fish, NY
2004 – “Works and Process,” with Jonathan Bepler and Matthew Barney, for “Matthew Barney: The Cremaster Cycle,” Solomon R. Guggenheim Museum, New York, performance
2004 – “NYC Sex: How New York City Transformed Sex in America,” Museum of Sex, New York
2004 – “Seka’s DNA”, The Tasting Room, NY
2002 – “Greatest Hits,” Niagara, NY
2000 – “Ribbon of Dreams,” Museum für Gegenwartskunst, Basel, Switzerland, photography and performance
1998 – “The White Dahlia,” opening performance for “Cremaster 1,” Museum für Gegenwartskunst, Basel, Switzerland
1996 – “March of the anal sadistic warrior,” performance for Matthew Barney film, Museum Boijmans Van Beuningen, Rotterdam, Netherlands
1993 – “Stations of the Cross,” performance with Blacklips Performance Cult, SoHo Guggenheim, New York
RESIDENCIES
1999-2000 – Stiftung Laurenz-Haus, Basel, Switzerland
WORK EXPERIENCE
Freelance photographer: The New York Times Magazine, Mojo, Bomb, Swoon, Flipside, The Guardian UK
Album covers: Sony, American Recordings, Warner Brothers, Chrysalis, Sympathy for the Record Industry, SST
Publicity portraits: Spin, Billboard, Marvel Comics
EDUCATION
1983-84 – Study of infrared photography, Rochester Institute of Technology, Rochester, NY
1982 – BA in Film/Video, UNC-Chapel Hill, Chapel Hill, NC
Eyelashes2010
16” x 20”
Giclee
Max G. Morton2009
8” x 10”
Digital C-print
Alessandra2009
8” x 10”
Digital C-print
Jessikat2008
8” x 10”
Digital C-print
Stewart Lupton2008
8” x 10”
Digital C-print
Eva2009
8” x 10”
Digital C-print
The Skeleton Boy2008
8” x 10”
Digital C-print
Installation view, “Dead Flowers” at Participant Inc, NY, 2010
Your Cigarette2007
8” x 10”
Digital C-print
Bat ring2007
8” x 10”
Digital C-print
Cynthia Plaster Caster2010
16” x 20”
Giclee
Terence Sellers1997
16” x 20”
C-print from 35mm negative
Genesis Breyer P-Orridge2003
8” x 10”
C-print from 35mm negative
Heather’s cigarette break2008
8” x 10”
Digital C-print
Apple and Urn2007
8” x 10”
Digital C-print
Tapestry couch2009
8” x 10”
Digital C-print
Heather Litteer2004
16” x 20”
C-print from 35mm negative
Last dance with Lady Jaye, New York Night Train2007
8” x 10”
Digital C-print
Jayne County with a pink hairbrush, Pyramid dressing room 1993/2002
16” x 20”
vintage Fujichrome print from 35mm transparency
Installation view, “Girls Don’t Count” at Shadow’s Space, Philadelphia, 2010