Minter created a series of works based on images from hardcore pornography, she believes that nobody has politically correct fantasies. No one questions the props, in this case the meringue and crumbs, lipstick and glass surface; all parties simply do their job. In an untitled print fromhills with the texture and color of red meat slope down to a warm asphalt freeway where cars become compositional motifs, telling our eyes where to travel.
Her paintings, on the other hand, are made by combining negatives in photoshop to make a whole new image. Through the s she refined her works, which despite still having pornographic undertones, exuded a sense of glamour and high-fashion.
Wet is a place where you try to cram as many sexual metaphors into your mouth as you can.
Style[ edit ] Her photographs and works often include sexuality and erotic imagery. Interview by Catherine Morris, Linda Yablonsky.
The exhibit was co-curated by Bill Arning and Elissa Auther.
Her book involved a heavy gloss, multi-colored paper making it feel almost wet, setting the book apart. She was presented at the Rencontres d'Arles festival, France.
An androgynous nipple is menaced by a snake tattoo and adorned with pearls, and a freckled, made up model blows a bubble that is about to burst.
Vampire,C-print, 86 x 60 inches, courtesy of the artist, Salon 94, NY, and Regen Projects, LA In the section of the CAM entitled Wet, we are treated to what feels like an all-nighter fueled by an excessive intake of ecstasy and coke.
Collection of Beth Rudin DeWoody. Marilyn Minter, Smash StillFord sent Louisa Taadou, a slender girl from Marseilles whose lips are the heaviest feature on her otherwise wispy face. Marilyn Minter, at the San Francisco Museum of Modern Artfocused on hyperrealistic close-ups of seemingly glamorous images, including makeup-laden lips, eyes, and toes.
Hush, Sweet Charlotte I am a woman. In this exhibition, Minter turns her attention to the art historical trope of the bather. Minter continues to publish her work in magazines and working with companies such as MTV. Poised between abstraction and figuration, a series of large-scale paintings are meticulously constructed using many layers of enamel paint.
Through the s, she explored Pop-derived pictures often incorporating sexualitysetting the tone for many of her works. She uses conventional darkroom processes. Maintenance is a drag; it takes all the fucking time lit.
Instead of getting on her hands and knees, Minter cleans the mess with her paintbrush.
In addition to her artistic practice, Minter has gained recognition for her political activism. The video will be presented as a trailer to midnight movies at the Landmark Sunshine Cinema on Houston Street.
Even though I get up early, I somehow manage to fill up any extra time I have in the morning. This new image is then turned into paintings created through the layering of enamel paint on aluminum. The exhibit was co-curated by Bill Arning and Elissa Auther. She does not crop or digitally manipulate her photographs.
To achieve these works, she directed her models to lick brightly colored candy on a sheet of glass and then photographed them from the other side. Enamel on metal, 60 x 72 inches. Minter begins her process by staging photo shoots with film. Minter continues to publish her work in magazines and working with companies such as MTV.
This marks her third solo presentation at the gallery. These works capture flaws in the labor and production of beauty—seen in the form of primarily white, female bodies. An androgynous nipple is menaced by a snake tattoo and adorned with pearls, and a freckled, made up model blows a bubble that is about to burst.
For sales attendants, gallery assistants, publicists—those of us who sell things and ourselves—primping and beautifying are not spa luxuries, but rather work that we do every day in order to sustain ourselves and to function in our world.
InMinter also produced a series of photographs of the actress Pamela Andersoncommissioned by the art quarterly Parkett. Minter produced her first video " Food Porn" This video was used as a television advertisement to promote her exhibition at the Simon Watson Gallery in New York.
Marilyn Minter, "Green Pink Caviar," This whole sequence of events evidences capitalism at its most abstract. Minter has an idea, she decides to execute it, and she calls an associate to request the services she needs. Green Pink Caviar,Marilyn Minter, courtesy Brooklyn Museum A video still from Green Pink Caviar offers another bold image.
A close-up picture of an open, seemingly female mouth with red-pink shimmery lipstick morphs into a green liquid. Her video Green Pink Caviar was exhibited in the lobby of the Museum of Modern Art, New York inand was also shown on digital billboards on Sunset Boulevard in Los Angeles and the Creative Time MTV billboard in Times Square, New York.
Her work has been included in numerous group exhibitions in museums all over the world. Apr 23, · Marilyn Minter's "Pop Rocks," enamel on metal, x inches.
Collection of Danielle and David Ganek. (Orange County Museum of Art). 11of 24 A still from Marilyn Minter's "Green Pink Caviar" video.
The full video is among works on view in "Marilyn Minter: Pretty/Dirty" at the Contemporary Arts Museum, Houston through Aug. 2. The young audience that sees clips from Green Pink Caviar up there is unlikely to be aware that, back inthe enterprising Minter filmed a commercial and bought a second ad on the David.Green pink caviar marilyn minter 2009