Shortlist Aperture Paris Photo Photography Award 2017
"When Mary FREY began photographing family, friends and strangers in her immediate environment in 1979, she was in a state of transition. Studies finished, first teaching assignment, pregnant - responsibilities, duties, worries - and the need to look for meaning in everyday life. After a childhood in the sense of an imminent nuclear catastrophe, in an America where lifestyle magazines and television give directions how the BRAVE NEW WORLD should look and function.
Mary FREY has made strange pictures. Technically perfect, between snapshot and enactment, intimacy and distance. Charged banalities with children, adolescents and adults, middle class, USA, 35 years ago. No reportage, a psychogram. Stockphotos that no magazine would have printed, no agency would have used for a campaign. Weird.
In the end, Raymond CARVER asks: 'Would I live my life over again? Make the same unforgiveable mistakes?'
And as Raymond CARVER in words Mary FREY answers with her pictures:YES." (publisher's note)
"While a photographer’s early work most often provides only tantalizing hints of the themes and ideas that will become important later on, once in a while, the honesty and authenticity of those first pictures gives them a clarity of vision that looking back seems surprising in its sophistication. With the benefit of hindsight, we can now see that Mary FREY’s excellent late 1970s photographs taken in suburban Massachusetts, made just after she got out of graduate school and largely boxed away for decades, have this kind of singular resonance. After this initial project, she would go on to successfully extend her vision into color, adding captions and interior thoughts, and have her work exhibited in MoMA’s second New Photography exhibit (in 1986), but these early black and white scenes (as gathered in this project-based volume Reading Raymond Carver) retain a kind of magic that still feels pitch perfect after all these years.
Frey’s late 1970s pictures nestle into a largely unpopulated niche in the layered history of American photography. By that time, Lee FRIEDLANDER, Garry WINOGRAND, and Diane ARBUS had gained broad attention in and around New York, telling visual stories drawn from city streets and chance encounters, while Robert ADAMS, Henry WESSEl, Bill OWENS, and others had turned their cameras to the West, looking at life in the newly built suburbs and California coastal cities. Cutting across these two intertwined paths were the photographers who had embraced color (William EGGLESTON, Stephen SHORE, Joel MEYEROWITZ, et al), their vision of America driven by a different aesthetic calculus.
And with all of that activity as a backdrop, here was Mary FREY, shooting large format black and white images in the middle class suburbs and neighborhoods of her home in the Northeast. Looking back, her approach seems like a stroke of obvious practicality (it was of course what was near at hand and well understood to FREY at the time), but also a harbinger of things to come. Larry SULTAN, Doug DUBOIS, Christine OSINSKI, and others would soon turn their cameras to the regional nuances of suburban families in the 1980s, and FREY's images stand up well to what would come along later.
Having myself grown up at roughly the same time as FREY’s pictures were taken, I can heartily attest to their exacting stylistic perfection. The game of Monopoly at the kitchen table, the gleefully oblivious singing along to tunes using headphones with an insanely long kinked cord connected to the stereo, the spinning basketball showing off in the driveway, and the improvised boy’s game of guns, drumsticks, and cardboard packing boxes all ring true with a kind of nostalgic rightness that says that she too noticed the tiniest of details and gestures that made these moments memorable. Her pictures are filled with wonderfully dated but resonant signifiers – the Farrah FAWCETT feathered hair poster, the stand-up video game, the 8-track player (with LED ZEPPELIN in and Bob SEEGER waiting), the Raisin Bran and cigarettes breakfast combo, the Wonder Bread picnic, the science project volcano made in the basement – each a single frame story about the rhythms of life in suburban American at that particular moment.
But the fact that FREY used a 4×5 camera to make these pictures gives them a slightly unexpected conceptual twist. Such a big bulky camera couldn’t possibly be used to catch fleeting moments – it had to be set up and tended to to make the exposures. So all of the moments we see in these pictures aren’t strictly documentary – they are a bit, I suppose, in that FREY may have come upon scenes in her own home or elsewhere in the neighborhood that she wanted to photograph and then asked people to wait while she wrangled the camera, but by definition, they also have a hint of directing or recreating going on, FREY asking a subject to hold a pose, or do it again, or just sit still a while.
So FREY’s early works have more in common with Tina BARNEY’s family tableaux than with the work of her small camera contemporaries – reality had to be patient and play along with her deliberate process, giving her a chance to tune the nuances of the visual stories she wanted to tell.
As photobooks go, this is an example of a publication that is entirely about celebrating the quality of the photographs. There are no tricky page cuts or design elements, no archival insertions or funky paper changes. The black and white images are generally shown one to a spread, with plenty of white space around them to give them room to breathe. The tritone reproductions are well executed, the sequencing makes sense, and there is just enough movement back and forth between left and right to break down any page turn monotony. It’s the kind of book you make when you know that many of the pictures are great and you don’t want to draw attention away from a dedicated and thoughtful process of looking at them.
This photobook has the potential to reinsert FREY back into a historical discussion from which she has largely been left out, making a compelling case for her rightful inclusion among the cross currents in late 1970s American photography. In many ways, it takes the memories of a family album and transforms them into durable art, taking the specifics of wet dogs, blown bubbles, home-baked pies, and cars washed in the driveway and making them universal.
About the photographer, Mary FREY:
Mary FREY received her MFA in photography from Yale University in 1979. Since then, she has been on the faculty of the Hartford Art School and is currently Professor of Photography. Frey received numerous awards for her work, most notably a Guggenheim Fellowship in 1984 and two photography fellowships from the National Endowment for the Arts in 1980 and 1992. She was the recipient of a Te Foundation Fellowship in 2004.
During the 1994 – 95 academic year Mary FREY was the Harnish Visiting Artist at Smith College, Northampton, MA, and in the spring of 2001 she completed an artist’s residency at the Burren College of Art, County Clare, Ireland. Her work has been exhibited extensively and is part of many public and private collections, including the Museum of Modern Art, New York, the Museum of Fine Arts, Houston, the Chicago Art Institute and the International Polaroid Collection.
Much of FREY’s work addresses the nature of the documentary image in contemporary culture. Currently she is working with the 19th century wet plate collodion process, producing ambrotypes on black glass.
FREY's work is represented by Gallery 291 in San Francisco." (Loring KNOBLAUCH, in: Collector's Daily, source: https://collectordaily.com/mary-frey-reading-raymond-carver/)
"Als Mary FREY 1979 begann, Familie, Freunde und Fremde in ihrer unmittelbaren Umgebung zu fotografieren, war sie selbst im Stadium des Übergangs. Studium beendet, erster Lehrauftrag, schwanger – Verantwortung, Pflichten, Sorgen – und die Notwendigkeit, im Alltag nach Sinn zu suchen. Nach einer Kindheit im Gefühl der drohenden nuklearen Katastrophe, in einem Amerika, in dem Lifestyle-Magazine und Television zeigen, wie die SCHÖNE NEUE WELT aussehen und funktionieren soll.
Eigenartige Bilder hat Mary FREY gemacht. Technisch perfekt, an der Schnittstelle zwischen Snapshot und Inszenierung, Intimität und Distanz, aufgeladene Alltäglichkeiten mit Kindern, Jugendlichen und Erwachsenen, Middle Class, USA, vor 35 Jahren.
Keine Reportage, ein Psychogramm. Stockphotos, die kein Magazin gedruckt, die keine Agentur für eine Kampagne verwendet hätte. Weird.
Am Ende fragt Raymond CARVER: 'Would I live my life over again? Make the same unforgiveable mistakes?'
Und wie Raymond CARVER in Worten antwortet Mary Frey mit ihren Bildern:
YES." (publisher's note)
"'Reading Raymond Carver' hat das Potenzial, FREY wieder in eine historische Diskussion zurück zu versetzen, von der sie weitgehend ausgeklammert wurde, was einen zwingenden Grund für ihre rechtmäßige Einbeziehung in die gegenseitigen Strömungen in der amerikanischen Fotografie der späten 1970er Jahre darstellt.
In vielerlei Hinsicht nimmt 'Reading Raymond Carver' die Erinnerungen an ein Familienalbum und verwandelt sie in dauerhafte Kunst, indem sie die Besonderheiten von nassen Hunden, geblasenen Blasen, hausgemachten Kuchen und Autos, die in der Auffahrt gewaschen werden, nimmt und sie universell macht." (Loring KNOBLAUCH, in: Collector's Daily, Quelle: https://collectordaily.com/mary-frey-reading-raymond-carver/)
Über die Fotgrafin, Mary FREY:
Mary FrREY schloss ihr Studium an der Yale University im Jahr 1979 ab und arbeitet heute als Professorin für Fotografie an der Hartford Art School.
Mary FREY hat zahlreiche Auszeichnungen erhalten, darunter ein Guggenheim Fellowship im Jahr 1984, zwei Fellowships vom National Endowment for the Arts und eine von der Te Foundation.
Ihre Arbeiten werden international ausgestellt und befinden sich in verschiedenen Sammlungen, darunter in The Museum of Modern Art, New York, The Museum of Fine Arts, Houston, The Chicago Art Institute and The International Polaroid Collection.