Matt Lamberts Keim is a special kind of secret. Its a book wrapped in whispers, gossip, innuendo, rumour, myth, mystique, and mystery. His featured Lovers, Friends, Muses, a Husband shares in the duplicity of this masterful young photographersMoreMatt Lamberts Keim is a special kind of secret. Its a book wrapped in whispers, gossip, innuendo, rumour, myth, mystique, and mystery. His featured Lovers, Friends, Muses, a Husband shares in the duplicity of this masterful young photographers lens.
That his chosen cover is an anonymous cock is telling. Its mid-ejaculation. A double exposure shows its arc of movement and a small shower of sperm glides off the right hand side of the page. This camboy view is analogous to Lamberts generational twist on the documentation of adolescent sexual behaviour. The photographic diary as rite of passage for artist and subject is a well-documented path. Larry Clarks autobiographical Tulsa (1971) shocked people by revealing the sinewy torsos of his teenage friends-protrusions of cocks, needles, and gun barrels penetrating the sexualized silhouette.
It was not what society wanted to see, but thats denial for you. If Lambert has a photographic lineage, its more likely to be Nan Goldin and her seminal book The Ballad of Sexual Dependency (1985). The Kodachrome-rich reds and browns, the shot-from-the-hip angles, and the incredible intimacy of Roommates in Bed (1981), or Skinhead Having Sex in London (1978), is much echoed in Lamberts work. However, thats where the influence ends, Lamberts worldview is not a ballad, nor is it about dependency.
Whereas Goldins study of family and relationship is about the politics of sexual intimacy, Lambert is apolitical - he starts and ends with sex. Its therefore independent of relationships. He doesnt care to reveal who is who. Unlike in Goldins book, no one in Keim has a name, a status, or a sense of purpose in the action other than sexual.
All are anon. Most are turned on. - Jefferson Hack