In her new suite of collages for the Boren banner series, Natalie Krick (born 1986, Portland, Oregon) deconstructs pictures of Marilyn Monroe (1926–1962). Using contact sheets from commercial photographer Bert Stern’s The complete last sitting (a book of 2,600 photos taken for Vogue magazine six weeks before the actress’s death), Krick separates the images from the book’s eroticized language. She then obscures them by masking, layering, and applying cut-out patterns—interventions that complicate the voyeuristic viewing the book imposes on its iconic subject.

The artist’s approach to these photographs is, in her words, “not an attempt to understand ‘Monroe’s truth’ but to focus attention on what the photograph does not show us, on what it hides and distorts”. Krick physically cuts and pastes Stern’s images to craft new compositions that often position Monroe as the photographer. By giving agency to the actress, Krick undermines the dynamic of objectification and sexualization between Stern and Monroe. The artist’s reframing of history in this body of work reveals the power imbalances of photography and instigates a more critical perspective on the women it has long objectified.

The Boren banner series reflects the museum’s commitment to showcasing work by Pacific Northwest artists. This biannual series gives regional artists the opportunity to present a piece as a monumental, 16 x 20 ft. vinyl “banner” alongside an exhibition of related works inside the museum. The billboard-size artwork is prominently sited facing Boren Avenue, the Frye’s most visible and accessible physical interface.

(Boren banner series: Natalie Krick is organized by Alexis L. Silva, Curatorial Assistant. Generous support provided by 4Culture and Frye Members. Media sponsorship provided by The Stranger)