|This biography from the Archives of AskART:|
|Based in New York City, Marilyn Minter is a painter whose work ranges
from fashion illustration to pornography and in many cases, provokes a
shocked or repelled reaction in the viewer. Many of her
paintings, usually enamel on metal, are based on her photographs, with
themes of commercial influences on femininity and the tragedy of the
'cult of beauty' on its victims---the art of style where everything goes wrong. On the surface these paintings
seem to be commercial fashion spreads, but problems are immediately
apparent in the subjects such as way too much hair, signs of self
mutilation, strange make up, gender confusion, and cannibalistic mouths.|
The San Francisco Museum of Modern Art sponsored an exhibition of her
work in the summer of 2005, and in the promotional material, her work
was described as examining "the relationships between the body,
photography, and painting, tapping into cultural anxieties about
sexuality and desire." (Many of her works are close ups of)
"makeup-laden lips, eyes, and toes, whose luscious colors, glossy
surfaces and immediate subject matter are both seductive and disturbing.
Minter took undergraduate study at the University of Florida in the
1960s, and was impressed by photographer, Diane Arbus, although she was not a student of hers. In those
days Minter was doing macabre photography including "photographic
documentation of her mother, Honora Elizabeth Laskey Minter, an aging beauty and drug addict whose
haggard demeanor was only matched by her cosmetic obsessions,"
(SFStation) and by her obvious attitude of not giving a damn.
In the winter of 2006, hyper-realistic photographs were placed on
billboards that towered over art galleries in Chelsea in
Manhattan. Of this effort, Minter said: "I'm trying to make an
image of what it feels like to look. I want to make a fresh vision of
something that's compelling; something that commands our attention;
something that is so visually lush that you'll give it multiple
readings adding your own history and traditions to the layered content.
Some things make you feel transcended; others make you feel slimed. I'm
constantly looking for that transcendent moment." (Creativetime)
That same winter, 2006, Marilyn Minter was invited to enter work in the
73rd Annual Whitney Biennial, and was honored with her work being
reproduced on the exhibition catalogue cover.
In addition to her painting, she also continues as a fashion photographer with clients such as Versace and Erickson Beamon.
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