Martha Friedlander: A Chronicle of New Zealand Through a Keen Eye
Martha Friedlander (née Gordon), born in London’s East End in 1928, was more than just a photographer; she was a chronicler of a nation – New Zealand. Her journey from a young girl growing up in a Jewish orphanage to becoming one of the country's most respected visual storytellers is a testament to her unwavering curiosity and profound connection with the land and its people. Her emigration to New Zealand in 1958 marked not just a geographical shift, but a fundamental transformation in her artistic vision, driven by a desire to understand and document a culture both familiar and strikingly different from her British upbringing.
Friedlander’s early life instilled within her a deep appreciation for observation and storytelling. She honed her skills at Camberwell School of Art, working as an assistant to prominent fashion photographers Douglas Glass and Gordon Crocker – experiences that exposed her to the technical demands and creative possibilities of image-making. These formative years provided a solid foundation before she embarked on her own distinct path. The influence of these mentors is subtle but present in her later work, particularly her early portraits which share a similar focus on capturing personality and mood. However, it was her move to New Zealand that truly ignited her artistic fire. Initially finding the country’s conservatism somewhat stifling after the vibrancy of London, she began to see its beauty and complexity through the lens of a keen observer, documenting everything from bustling cityscapes to remote rural landscapes and, most importantly, the people who shaped them.
A Portrait of a Nation: Documenting New Zealand's Soul
Friedlander’s photographic career blossomed in the 1960s, fueled by an innate desire to capture the essence of New Zealand life. Her early work focused on documenting social movements and activism – a particularly poignant example being her photograph of Auckland protestors against the New Zealand rugby team's controversial tour of South Africa in 1960, which was later featured in a BBC television series. This demonstrated her commitment to capturing moments of significance and challenging societal norms. A pivotal collaboration with historian Michael King in 1972, “Moko: Maori Tattooing in the 20th Century,” cemented her place as a significant voice in New Zealand’s cultural narrative. Through this project, she meticulously documented the intricate and deeply symbolic tradition of Maori moko tattoos, offering invaluable insights into Māori culture and identity. This work wasn't merely photographic; it was an act of preservation, ensuring that these ancient practices were recognized and understood by a wider audience.
Technique and Style: A Quietly Powerful Approach
While Friedlander’s subject matter is often dramatic – protests, social change, and the beauty of the New Zealand landscape – her photographic style remains remarkably understated. She eschewed elaborate staging or manipulation, preferring to capture moments as they unfolded with a directness and honesty that resonated deeply with viewers. Her portraits are particularly notable for their ability to reveal character—a quiet intensity, a subtle vulnerability, or an unwavering strength. She possessed a remarkable ability to connect with her subjects, creating images that felt intimate and authentic. This approach speaks volumes about her artistic philosophy: less is often more, and the power of photography lies in its capacity to capture truth without embellishment.
Legacy and Recognition
Martha Friedlander’s contribution to New Zealand photography is undeniable. Her extensive archive, now held at the E H McCormick Research Library of the Auckland Art Gallery Toi o Tāmaki, stands as a testament to her prolific career. In 2018, it was recognized as a Memory of the World Aotearoa New Zealand Ngā Mahara o te Ao register, highlighting its significance for future generations. Her work has been exhibited extensively throughout New Zealand and internationally, earning her numerous accolades, including the Arts Foundation of New Zealand’s Marti Friedlander Photographic Award, established in 2007 in her honor. Her autobiography, “Self-Portrait,” published in 2013, offers a deeply personal reflection on her life and artistic journey. Martha Friedlander passed away in Auckland in November 2016, leaving behind a rich legacy of images that continue to shape our understanding of New Zealand’s history, culture, and people. Her photographs are not simply records; they are windows into the soul of a nation.
Key Publications
- Moko: Maori Tattooing in the 20th Century (1972) with Michael King
- Larks in a Paradise (1974) with James McNeish
- Contemporary New Zealand Painters A–M (1980) with Jim and Mary Barr
- Pioneers of New Zealand Wine (2002) with Dick Scott
- Marti Friedlander: Photographs (2001) with Ron Brownson
- Marti Friedlander with Leonard Bell (2009)
- Marti Friedlander: Portraits of the Artists. By Leonard Bell. Auckland University Press, 2021. ISBN 978-1869409173.
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