The images in Marilyn Minter’s paintings, photographs, and videos are among the most immediately recognisable being made today. They are also among the more politically charged. Minter drags together the clichés of fashion photography and soft pornography in an amalgam that is as troubling as it is alluring.Read More
Despite the stylistic changes in a career that now spans more than four decades, Minter's perennial subject matter has been the complex networks of relationships that exist between women’s lives and the world that surrounds them. From frankly disturbing photographs of her drug-addled mother that she took when she was still a student, through her series of infamous paintings based on hard-core pornography, through her Plush photographs that glamorised pubic hair, to her most recent large-scale high-keyed paintings of women licking steamy glass, Minter has never shied away from the paradoxical nature of sexuality.
Throughout her career Minter's work has been given further substance by its engagement with private and public politics. This has been reflected in her recurrent efforts to present her work in more easily accessible situations than galleries or museums. In 1990, she produced a television ad that ran on late night network television for her exhibition 100 Food Porn which took place at the Simon Watson Gallery (1 November – 1 December), in 2006 she worked with Creative Time to present her paintings on enormous billboards, and she worked with Miley Cyrus and Marc Jacobs to produce a t-shirt to support Planned Parenthood, the 100-year-old nonprofit organisation that is the largest single provider of reproductive health services, including abortion, in the United States.
Minter’s career retrospective Marilyn Minter: Pretty/ Dirty (which had previously been seen at Contemporary Arts Museum Houston (18 April – 2 August, 2015), Museum of Contemporary Art Denver (18 September, 2015 – 31 January, 2016), and the Orange County Museum of Art (2 April - 10 July, 2016)) opened to public at the Brooklyn Museum on 4 November 2016.
Robert Ayers | Ocula | 2017
Last week, during the Aperture Foundation's fall gala at a cavernous space in New York's Chelsea neighborhood, Marilyn Minter turned to Catherine Opie while the two artists stood onstage together, and said, "I wish you would adopt me." Opie, not missing a beat, deadpanned back, "Can I swaddle you, then?"
The billboards going up around the country this week will have a familiar message for this midterm election: Vote. But featuring images of protests and reminders of the 2016 election, produced by some of the country's best-known artists, the billboards—one for each of the 50 states—will look nothing like your average political...
When I call Marilyn Minter in her New York studio, she is not painting, taking photos or doing any of the things you might expect of an artist preparing for their first solo show in Asia. Instead, she is planning a protest.
'There would be no Internet without pornography,' proclaimed New York-based Marilyn Minter, whose art has challenged notions of femininity since the 1970s. 'And (porn) is one of the huge engines of the culture.'
On 29 August 2018, at the Asia Society in Hong Kong, artist Marilyn Minter gave an evening lecture. The artist was visiting the city on the occasion of her first solo exhibition in Hong Kong (30 August–27 October 2018), which took place at Lehmann Maupin's space in the Pedder Building. During the lecture, the artist introduced her recent paintings...