Marilyn Minter at the Brooklyn Museum through April 2
Above: Still from Smash (2014), by Marilyn Minter. Video: Smash teaser (2014). Home page/Art page: Torrent (2013), by Marilyn Minter. Enamel on metal, 96 x 60 inches. Private collection, Palm Beach, Florida.
Share
BY: Howard Karren
Marilyn Minter’s sensual paintings, photographs and videos vividly explore the complex and contradictory emotions that are evoked by beauty and the female body in American culture. She trains her eye and her critique on the power of desire and the ways that the fashion industry commercializes sex and the body. “When I think about my work, I mostly think about the paradox that goes on when you look at these images,” Minter says. “How much pleasure glamour gives us, but at the same time, how we know that we’ll never look like that, and that even [the models] don’t look like that. There’s this constant distortion that’s happening between all of us—men and women. There’s a sense of failure, but, at the same time, all of this pleasure.” With more than four decades of work represented, “Marilyn Minter: Pretty/Dirty” is the first major retrospective of Minter’s art. It’s on view at the Brooklyn Museum through April 2; PROVOKR offers a sampling above and below.
Torrent (2013), by Marilyn Minter. Enamel on metal, 96 x 60 inches. Private collection, Palm Beach, Florida.
Little Girls #1 (1986), by Marilyn Minter. Enamel on canvas (3 panels), overall: 68 x 86 inches. Collection of Jean-Oliver Després, Paris.
Orange Crush (2009), by Marilyn Minter. Enamel on metal, 108 x 180 inches. Private collection.
Rouge Baiser (1994), by Marilyn Minter [cropped]. Enamel on metal, 48 x 48 inches. Courtesy of the artist and Salon 94, New York.
Blue Poles (2007), by Marilyn Minter. Enamel on metal, 60 x 72 inches. Private collection, Switzerland.
Glazed (2006), by Marilyn Minter [cropped]. Enamel on metal, 96 x 60 inches. Collection of Jeanne Greenberg Rohatyn and Nicolas Rohatyn, New York.
Clip (2005), by Marilyn Minter [cropped]. Enamel on metal, 30 x 24 inches. collection of Gregory R. Miller and Michael Wiener, New York.
Pop Rocks (2009), by Marilyn Minter. Enamel on metal, 108 x 180 inches. Collection of Danielle and David Ganek.
Coral Ridge Towers (Mom Making Up) (1969), by Marilyn Minter. Gelatin silver print, sheet: 16 x 20 inches. Collection of Beth Rudin DeWoody.
Still from Green Pink Caviar (2009), by Marilyn Minter. HD digital video, 7 minutes, 45 seconds. Courtesy of the artist, Salon 94, New York, and Regen Projects, Los Angeles.
100 Food Porn #9 (1989–90), by Marilyn Minter. Enamel on metal, 24 x 30 inches. Hort Family Collection.
Drizzle (Wangechi Mutu) (2010), by Marilyn Minter. Enamel on metal, 96 x 60 inches. Holzer Family Collection.
Not in These Shoes (2013), by Marilyn Minter. Enamel on metal, 108 x 162 inches. Courtesy of the artist and Regen Projects, Los Angeles.
Armpit (2006), by Marilyn Minter. C-print, 40 x 30 inches. Courtesy of the artist, Salon 94, New York, and Regen Projects, Los Angeles.
Black Orchid (2012), by Marilyn Minter. C-print, 86 x 57 inches. Courtesy of the artist, Salon 94, New York, and Regen Projects, Los Angeles.
Big Girls (1986), by Marilyn Minter. Enamel on canvas (2 panels), overall: 80 x 90 inches. Collection of Bill Contente, New York.
Soiled (2000), by Marilyn Minter. Chromogenic print, 60 x 40 inches. Courtesy of the artist, Salon 94, New York, and Regen Projects, Los Angeles.
Marilyn Minter in her studio, 2015. Photo by Jason Schmidt.
![Clip (2005), by Marilyn Minter [cropped]. Enamel on metal, 30 x 24 inches. collection of Gregory R. Miller and Michael Wiener, New York.](https://provokr.com/wp-content/uploads/2016/11/Clip_cropped.jpg)
