Collection Overview
Curator's Statement
WE’RE WILLING
TO LAY ODDS THAT THIS WON’T BE THE LAST TIME
you hear about up-and-coming photographer Samantha Bremer. Her work is
distinctive both for its flexibility of subject and tone and unconventional
flair. With an eye for weird juxtapositions and uncanny details that would make
David Lynch proud, at the same time, she has an instinct for composition, color
and texture that’s perfectly at home in the worlds of both fine art and
commercial fashion photography.
In spite of her formidable talent, when you first see her,
she looks every inch the fresh-faced ingénue. And in this male-dominated
industry, that’s not necessarily an advantage. “You hardly ever
hear about female photographers who make it really big—can you think of anyone
beyond Annie
to get people to take me seriously because I look so young. If I could just get
them to look at my work…”
But appearances aren’t everything. Bremer’s grit and
tenacity belie her youthful looks—she’s been working at odd jobs
for ten years to put herself through school, all the while building her
portfolio and shopping her work around.
A few years ago she moved from Minnesota
to L.A., to go
where the commercial gigs are and to attend classes at the prestigious
snapping photos for the men’s magazine
of sideline jobs—working the door at a popular after-hours club, serving
as a full-time personal assistant for a CEO of a property management company,
working retail for Aveda. And she feels lucky to have these jobs.
“It’s really difficult to find work out here. Everyone is waiting
tables, looking for a break into the entertainment industry. I’m
lucky.”
She credits a background in graphic design (unusual for a
photographer) with giving her a keen eye for context and potent imagery.
“My degree from the University
of Minnesota in design
really helps. Knowledge of color theory, texture, composition—it helps
she’s chosen to pursue commercial rather than fine arts photography, she
laughs ruefully. “My background is in fine art photography and, of
course, I’d love to do that. What artist wouldn’t? The big
difference between fine art photography and commercial photography is that
commercial photographers get paid. Fine arts
don’t. And there are more opportunities if you’re
willing to do commercial work—it requires technical skill, but not
necessarily the same degree of creative ability. Only a tiny handful of
photographers ever make it in fine arts photography, and the level of creative
skill required is just huge.” Bremer explains that she could scratch both
the fine arts and commercial photography itches by working in fashion
photography. “My current setpoint is European fashion photography. I
subscribe to every magazine . The work is just beautiful. I’d
love to end up working in London.”
She recently completed an internship with
a legend in photography circles. She enthuses about the experience, “His
is really the defining style for me. I can’t help but model my work on
his—it’s just amazing.”
Right now, Bremer’s submitting work to print
magazines, posting her work wherever she can get it seen. (As
you’ll see for yourself when you visit her
mnartists.org.) Her images themselves are impressively
varied—some are moody black-and-white photos reminiscent of the glamour
days of Hollywood,
a few are Fellini-esque absurdities. Her commercial fashion work is in turns
sexy, exuberant, and vivid—connected by the pervasive sense that the
feminine is beautiful, even defiant. Working within the conventions of fashion
spreads—lithe models with hips jutting forward jauntily—Bremer’s
work gently presses against them, too. Keep your eye on the photo credits in
Samantha Bremer’s distinctive shots and unconventionally beautiful,
quirky images in those glossy pages.
--Susannah Schouweiler
Related Links
Samantha Bremer's homepage on mnartists.org
See scads more photos from Samantha's portfolio here.
Collection
Collection Classification
access + ENGAGE, Photography, Wearable