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Artist Bio
 
Aline Mare was born into a family of movie and theatre professionals based in New York City. She was named after her Great Aunt: stage actress and Busby Berkeley film actress, Aline MacMahon; her paternal grandfather, Arthur L Mayer, was a legendary East Coast motion-picture exhibitor, distributor and lecturer on film history.
 
Her own career began in the mid-seventies in the Lower East Side of Manhattan where she worked with influential artists Robert Wilson (The Byrd Hoffmann School of Byrds, Stalin,1973), Meredith Monk (Paris/Chakon,1974), Richard Foreman (Pandering to the Masses, a Misrepresentation,1975), Robert Frank (Keeping Busy,1975), and Vito Acconci (The Red Tapes,1977). During that period she also worked as a video editor for Richard Serra and Nancy Holt.
 
She was an early member of Collaborative Projects, a collective formed in the late 70s and early 80s in downtown New York City where she participated in blockbuster exhibitions including “The Times Square Show” and “The Real Estate Show”`. After studying with early eco-feminist writer and pagan, Starhawk, she performed in a multi-media partnership, Erotic Psyche, a film and music extravaganza exploring the body and the senses, which toured extensively in Manhattan and Europe throughout the 1980s. 
 
Mare completed her undergraduate work at SUNY Buffalo’s Center for Media Study studying with Nam June Paik, Paul Sharits, Hollis Frampton, Tony Conrad, and the Vasulkas. In 1998 she moved to San Francisco to complete an MFA from the San Francisco Art Institute, where she produced the film Saline's Solution, an experimental film about a late-term abortion. The film garnered support and awards internationally, exhibiting at The Cinematheque in SF, and at The Whitney Museum and the Museum of Modern Art in New York City.
 
In 2000 she received a Headlands Center for the Arts Residency, where she created an installation project examining the life of friend and writer Kathy Acker and Acker’s courageous fight against the breast cancer that claimed her life in 1997. In 2004, Spider Woman Press published Mare’s collaborative book with poet and translator Olivia Sears, entitled Cell/Self. Cell/Self dealt with the horror and beauty of a biotech future and its impact on our collective sense of identity. 
 
Mare has continued her multi-media explorations with imagery interfacing science and the body, concentrating on photography, video, and installation. In the past decade, she completed several more multi-media series including Electric Flowers (2006), Beautiful Boys (2007) and The Hands (2008), the later bodies of work produced through the Kala Artist-in Residence program. Her mixed media work dealing with transitional moments in the life of Jewish preadolescents: Seeing the Light (2009) and Beautiful Boys (2007), have been shown in major American cities in single channel video and photographic format.
 
In 2012 she completed the Photosynthesis series, a collaborative work with Olivia Sears, examining metaphors of photosynthesis in both multi-media installation and performance presentations. The work was included in the exhibition “Age of Wonder” shown at the Turtle Bay Museum in Redding, California, Intersection for the Arts in San Francisco and Swarm Gallery in Oakland, California.

The most recent series examine animate and inanimate objects as hyper-natural objects completed as unique hand painted dye infused metal prints on aluminum. The work has been showed at Noysky Projects, Millard Sheets, Red Pipe Gallery in Chinatown, LA, The Santa Monica Museum, and the Tides Foundation in San Francisco among others, and in several more recent shows including including the Sturt Haaga Gallery, Hale Gallery and BLAM Gallery in Los Angeles as well as MOAH Museum in Lancaster. Her work is held in private collections in San Francisco, Los Angeles, New York and Shanghai.