Candy Cane, 2007
C-print
30 x 30 inches
Edition of 10

Abandoned Housewife, 2003
C-print
Edition of 10
30 x 30 inches

Cement Sky, 2007
C-print
Edition of 10
30 x 40 inches

Thumper, 2010
C-print mounted to dibond
Edition of 10
36 x 24 inches

Fetish Coffee, 2004
C-print
Edition of 10
30 x 30 inches

Edelweiss, 2003
C-print
Edition of 10
30 x 30 inches

I Will Sell This Lake Today, 2010
C-print mounted to dibond
Edition of 10
30 x 44 inches

Spring Cleaning, 2006
C-print
Edition of 10
30 x 30 inches

Spur of the Moment, 2009
C-print mounted to dibond
Edition of 10
36 x 53 inches

Satellite Blonde, 2010
C-print mounted to dibond
Edition of 10
30 x 44 inches

The Arrival, 2007
C-print mounted to dibond
Edition of 10
30 x 30 inches

Where is Night Crawler, 2008
C-print mounted to dibond
Edition of 10
30 x 44 inches

Bird Call, 2004
C-print mounted to dibond
Edition of 10
30 x 30 inches

Marla Rutherford: LAY-TEXT

in conjunction with MOPLA

March 31 – April 28, 2012

EXHIBITION: March 31 - April , 2012
RECEPTION: Saturday, March 31, 7:00 – 10:00 pm
LOCATION:
ROBERT BERMAN GALLERY
Bergamot Station Arts Center
2525 Michigan Ave. / B7 Gallery
Santa Monica, CA 90404

Marla Rutherford’s work references many genres of photography – fashion, advertising, glamour portrait, fetish, film stills, Pirelli calendars – to present highly original fictional and performative portraits that play off incongruous worlds, often interrupting a domestic scene with a fantasy image or placing a seductive fetish portrait in a common- place, everyday scene.

Marla Rutherford’s photographs show a surreal universe that brings together groups of people from completely different worlds. The originality of her work resides in the juxtaposition of images of children or the elderly with portraits of people from the worlds of sadomasochism and fetishism. By making the latter group pose in ordinary surroundings, the photographer brings the strange and the banal together, and so allows viewers to feel more at ease when faced with people whose practices are seen as deviant. In her collection of brightly colored images, Rutherford uses a style close to advertising photography, which is intended to seduce the viewer. Portraits of people from a community that is a part of the counterculture of America are brought out into the light of day and treated as a subject as commonplace as a smiling baby or an old lady sitting in her living room.