On the Verge
by Carlo McCormick
Shadows in Paradise, 2017
Witness and wanderer, we have asked much of photography over its history. It has borne experience and brought evidence, conveying appearance as a matter of
fact and extending vision as far as the eye can see, or even further. It is in this distance beyond perception, and maybe too the intimacy lurking within it, that Marianna
Rothen finds a focal point between narrative and enigma. Just as photography has been able to document and describe the actuality of the extraordinary- say how
radical must have first seemed its early registration of distant vistas, the cruelties of war or even (with the advent of aerial photography) how our world appears looking
down on it- it has had the uncanny effect of making the ordinary somehow out of this world. Rothen looks in the shadows, down forgotten byways, to the make-believe
where our fictions act out a deeper truth, and to the frayed edges of the domestic where the feral gnaws at normalcy, so that in her home, among her friends and by
herself, we can hear the whispers of all that sorrow and violence sounded deep within the society of self.
Languid and pensive, reeling under the weight of being, dancing to the desperate muscle memory of survival, Rothen’s women are phantoms of our own anxieties,
portraits of beauty rubbed raw by some ugly truth. They are so alone we cannot help but become complicit as an unbidden witness, the company of empathy that offers
no solace to the solitude. To come to these pictures you must travel alone and pack only the burden of your own isolation. You can stare if you want, they allow prurient
curiosity as they invite voyeurism, but these pictures will somehow always remain fleeting apparitions, episodes glimpsed yet never fully comprehended. That’s at least
how they seduce me, the way this artist’s gaze is unwavering but peripheral, like an unseen presence just around the corner or an unspecific impression caught out
of the corner of your eye. We don’t need to see the action here for the drama is in the reaction, what pursues and haunts these protagonists as likely from within as
While all the photographs that make up Marianna Rothen’s latest series “Shadows in Paradise” were shot in and around a house far up in the mountains of New York
State, their location is more liminal than actual. Like the house that acts as a moody and elusive character, in disrepair and nearly deserted before gradually being brought
back to life by the artist herself, these photographs chart a temporal topography of abandonment and occupation, close to the familiar but unmistakably outlying. It is
in this multiplicity, a whole shattered asunder like the fragments of personality rendered split by this woman made into many, veracity and disbelief shimmer in distorted
reflection, honesty caught in awkward shudder skulking on the threshold of delusion. Here is where to be there is to lose oneself, arrival an indefinite delay, waiting for
something that may never come because likely it has left already.
We know this place; it is the landscape of what has been lost and the broken ground upon which the forgotten grows like fertile weeds of memory, flowering pasts on
untended beds of history’s perennial haunting. It is not a destination but a sidetrack of indetermination, it is a borderline Rothen does not so much cross as trace like a
caregiver’s loving caress along the ridge of an accustomed scar. Marianna occupies these pictures like an unspoken kindness, the company and comfort we keep when
we are alone and frightened of this world, and wherever she may be here, in the frame or behind the camera, she is never quite grounded or solid but hovering, ethereal
and translucent, as much feeling as fact. This is really the nature of the fiction, the artist herself seeking out the self in others, making of her identity a disappearance and
a disclosure. How so often we see through windows, the internal and external framed by fragile portals, trapped like Catherine and storming through like Heathcliff in a
Catskills remake of Wuthering Heights. Yes, the science of photography has been able to take us outside of ourselves, but its art has been to lead us within, to proffer
deceptions as palliative truths. And in this sleight Rothen reveals herself like the ghosts of early Spirit Photography, the grainy shots of Yeti, Loch Ness and UFOs, and the
pixies of the Cottingley Fairies- projections of a need, reminders that we are never alone.
Marianna Rothen: Shadows in Paradise @Steven Kasher
by Loring Knoblauch
Collector Daily, 3/27/17
In Marianna Rothen’s first photobook, Snow and Rose & other tales, she constructed a richly resonant dream world where empowered women were free to be themselves
in an environment entirely without men. Starting with an anxious woman in a wedding dress who ultimately flees, the fragments of visual narrative went on to capture various
women frolicking nude in the forest, playfully lounging in old houses, reading books, taking baths, having tea parties, and generally enjoying the loose openness of female
companionship. Shot and styled with a retro look and feel, and full of flouncy wigs, the images reveled in natural unselfconscious nudity and contagious smiling confidence.
Shadows in Paradise is Rothen’s second show and book, and its apt title lets us know that we will not be in for a continuation of the easy going, girlfriend sleepover good
times. In a series of six open-ended multi-image vignettes, Rothen builds up a subtly different mood, where uncertainty and insecurity reenter the psychological terrain and
introspection takes hold. Gone are the laughing eyes and the teasing prancing, replaced by head-in-hands despair, wide eyed fear, and weary leaning-on-the-doorframe
Given that Rothen herself is a character in some of her stories, and the care with which costumes and female personas are created and employed, it’s hard not to make
connections back to Cindy Sherman’s work, particularly the Untitled Film Stills and their meticulously controlled cinematic moments. Other contemporary photographers,
like Alex Prager and Julia Fullerton-Batten, have also leveraged Sherman, putting females in stylized situations of peril and distress, sometimes with a healthy dose of film
Where Rothen has carved out something durably different is in the softness of her touch – while others have often opted for brassy bold color exaggeration in their
girl-on-the run stories, even when Rothen has pushed toward Hitchockian suspense and melodrama in her staging, her tones and shadows have muted those blasts of
high-intensity emotion, bringing them back toward more realistic roots. The wigs and setups never let us forget we’re inhabiting the artist’s imagination, but the decaying
house, the natural light, and the lost-in-thought gazes seduce us into temporarily suspending our disbelief.
While Rothen’s women still inhabit an all-female domain (with a handful of men interrupting from book jackets, posters, and framed pictures), there is much more implied
tension in these new pictures. Pregnant bellies, overturned baby carriages, stubbed out cigarettes, and empty whiskey bottles are the props that lead us to darker conclusions,
and a few brandished knives and handguns take the threatened atmosphere further. We voyeuristically watch as the scenarios start to unravel, peering through a broken
window pane or the folds of a curtain, or catching our heroines unaware in mirror reflections or through open doors.
Rothen’s management of body language and facial expression is a consistent superlative in her photographs. Crossed arms provide a small bit of protection from an unseen
force, feet up on the dining room table imply casual, don’t-care-anymore resignation, and a swayed look underneath a chandelier pulls with teetering imbalance. More complex
double mirror reflections and side-by-side diptychs (with blonde/brunette Betty and Veronica wigs) demonstrate that Rothen has been storyboarding these scenes out with
precision, alternately using black and white and color to heighten the particular mood of her pictures. A deer-in-the headlights held wineglass, a downcast look under a veil,
a sunglassed sway in a fur robe, each pose hits its stylistic mark with elegant exactness.
As a pair, Rothen’s two bodies of work provide a smart contrast of light and dark, where the realities and perils of life ultimately intrude on the idyllic freedoms of the original
setting. That she can so effortlessly move back and forth between the nuances of liberation and constraint is proof that she is much more than a young photographer playing
with dated wigs. Her new images introduce the friction of a richer spectrum of emotions, and that undercurrent of faded illusion gives the best of her photographs a sense of
Situation and Seduction: Marianna Rothen’s Shadows in Paradise
by Lucy Soutter
Photoworks Annual 22, 2015
A glamorous blonde—let’s call her ‘Blondie’—is hiding out at a run-down old house. She is fully made up like a 60s French film star, but there is something off-kilter
about her appearance: in some pictures her hair looks like a doll’s wig. She’s got one outfit that she wears in various permutations: a slip, a cotton dress, a stripy
sweater and a leather trench coat. Blondie has time to kill. She sits around smoking, staring into the middle distance or looking out of a broken window. She
doesn’t turn on the TV. She holds a book in her lap but doesn’t read it. She picks up the phone but she doesn’t talk on it. She is waiting for something to happen,
a call or the arrival of a visitor. From the quality of her gaze, she seems kind of depressed, maybe even afraid. She sits on the front stoop with her head in her hands.
She lies on the brown shag carpet staring at the contents of a spilled ashtray. And she may well have reason to be afraid. In one frame she is prone, as if struck down,
outside the front door, with a battered pram overturned beside her. But she’s the one with the gun, held close to her chest as she smoulders behind a lace veil.
A final image closes in on her face, veiled by hair now rather than lace, and washed out by bright sunshine, as she looks right out at us.
This version of the story is my own. You might make something else of it, and Marianna Rothen’s photographs invite you to do so. For a photograph to read as a
compelling narrative it has to have something mysterious about it. If all were revealed, the image would read as a flat depiction, a showing rather than a telling.
The best narrative photographs offer a central ambiguity, while crucially inviting the viewer to connect with the characters or situations depicted. Rothen’s Blondie
is just the sort of seductive cipher to draw us into this process.
Rothen is unusual among narrative photographers in that she actively varies the narrative situation, the implied positions of the author, characters and viewer.
Some of the photographs in this series, like Risky Business, show us a scene as if viewed by an impersonal, external narrator. Others, like Rosebud and Ashtray,
invite us to perceive the story world through the eyes of the central character. She does not narrate per se, but serves to guide our looking with her looking. Still
other images, like Curtain, Backstabber and Still Life, are framed to place our gaze in a threatening relationship to the character. They imply a voyeuristic, predatory
role for us, the viewers. We could think of these as being narrated in the second person, as in ‘You are standing here’. In a fourth category of images, including
Donkey Skin and Cowboy 4, Blondie looks us straight in the eye, breaking the frame of the image to make contact with us. This is the closest she comes to serving
as a first person narrator rather than just a protagonist. This narrative instability produces a cinematic intensity and allows the series to unfold without feeling
predictable or illustrative.
A mini series called Shadows in Paradise, these 13 images make up a chapter in a larger body of work currently in progress. Like much of Rothen’s previous work
(in which Blondie occasionally appears), they take place in an all-women environment and present post-war Western norms of beauty in a playful mash-up. Rothen
is part of a generation of female photographers who belong as much to the internet as the gallery. Her New York gallery, Steven Kasher, recently included her in an
exhibition of nudes by photographers including Olivia Locher, Shae DeTar and Amanda Charchian—all active bloggers with tens of thousands of Instagram and Tumblr
followers. For this generation of artists, selfies, interviews, social media presence and viewer comments are paratexts informing the interpretation of their work. They
offer up aspects of their own subjectivity as part of a shared project: to recuperate the visual pleasures of the female form with a 21st century aesthetic.
Artists working in staged photography sometimes distance themselves from fashion by making their work larger and sharper, more banal or more spectacularly cinematic
than we usually expect fashion editorial to be. Rothen prints most of her images at relatively small scale, shifting fluidly between black and white and colour, and mixing
sharp images with atmospherically blurred ones, thus allowing her work to overlap with the visual tropes of fashion. Parallel to the way song lyrics can lack sense in
terms of grammar and reference, but still pull on the emotions when paired with melody, the best fashion images create affect from elements that do not add up on their
own. A bra strap or a flutter of false eyelashes may produce a flash of desire, or a vivid sensory projection of what it feels like to be in that scene, in that skin. A former
model herself, Rothen has an insider’s knowledge of how images can generate sensation, projection and identification.
Rothen often includes books in her photographs. Their titles provide atmospheric epigraphs for the images, and sometimes add layers of reference. Shadows in Paradise
refers to the title of a novel by Erich Maria Remarque (best known for All Quiet on the Western Front). Published after the author’s death, the novel explores the lives of
European émigrés after the World War II. Like Remarque himself, the German protagonist has a beautiful Russian girlfriend, a former model, with whom he pines for a
pre-war Europe to which they can never return. The photographs in Rothen’s series have some of the nostalgic melancholy of the novel, but are set closer to the book’s
1972 publication date than its late 1940s setting. The fractured viewpoint of the photographs echoes the inconsistencies of the novel, which some critics consider to be
an unfinished draft. In the first image of the series, a copy of the novel lies across Blondie’s lap, emphasising the jacket photograph of Remarque himself. A figure of high
romance, Remarque had affairs with Hollywood legends including Hedy Lamarr, Dolores del Rio, Marlene Dietrich and Greta Garbo. Although Rothen’s photographs are
not an illustration of his text, they deepen in relation to his brooding presence.
Does it matter who the model is for Blondie? Would it shift the way we perceive the story if she were someone significant, even the artist herself? In the set of Cowboy
images with Blondie wearing the veil, the viewer is presented with a visage all the more alluring for being partially obscured. In these images, Blondie is simultaneously
herself as a character and the object of the photographer’s—and our—gaze. Shifting the narrative situation from picture to picture, Rothen creates a layered masquerade.
Actress, model and protagonist, Blondie is also voyeur, predator and prey.