MARILYN MINTER
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Marilyn Minter has been considering representations and ramifications of glamour
for the last thirty years, but it is worth considering just what is connoted by the
word. Minter, it seems, defines this concept by the book, or at least intuitively leans
toward its etymological truth, which aligns glamour with magic spells and illusory
attractiveness—never with fictional ideas that propose glamour as some kind of
natural condition. All of which is to say that Minter has been plumbing the depths of
(al)chemical beauty (and its breakdowns) for a very long time. 


In one of her earliest series of work, a group of black-and-white photographs from
the late 1960s, Minter went right to the source—her own mother. Snapping pictures
of her aging, substance-abusing, bedridden parent, Minter captured the queasy day-
to-day undoings and recastings of physical appearance. Obsessed with tasks of
pruning and priming, Minter’s mother, clad in nightgown and propped with pillows,
refused to let even a stray eyebrow lay seed. The photographs, at once gorgeous
and grotesque, made nearly everyone who saw them so uncomfortable that the
artist hid them away in a drawer for the next three decades. 


In conjunction with her practice of photography, Minter makes paintings (enamel on
metal), showing a special interest in Photo-Realist methods of representation.
Culling imagery from cooking shows, porn videos, and beauty advertisements, the
artist posits a visual continuity between seemingly disjunctive sensual experiences.
By intentionally conflating the pleasures of cuisine and cunnilingus, Minter renders
straightforward yet ambiguous images that shore up the constructed nature of their
meanings.

In Minter’s hands, a lobster tail is apt to become infinitely sexier than a penis, and
the accoutrements of beauty will never ensure perfection. In recent works, she
paints hyperrealistic images that look more photographic than photographs, and
snaps photographs that look utterly painterly. Choosing models whose race and
gender are open to interpretation, Minter hones in (literally and figuratively) on the
imperfect trappings of high couture in large-scale color photographs and paintings
that at once magnify, fetishize, and abject their subjects. Plumped, rouge-stained
lips drip with slimy egg yolk; the glittered eye of a model is accompanied by a peach-
fuzzed face; the wearer of studded Christian Dior pumps has apparently been
doused in mud, and dirt infiltrates every crease of her perfectly manicured feet. The
ambivalence in Minter’s works does not leave us any less seduced by them: we
simply have a harder time cleaning up and simplifying the true nature of our much
more complicated desires.
Education:
1972 Syracuse University, Syracuse, NY, M.F.A Painting
1970 University of Florida, B.F.A

Solo Projects and Exhibitions (selected):

Solo Exhibitions:
2006
Salon 94 Gallery, New York
Gavlak Projects, Palm Beach, Forida
Baldwin Gallery, Aspen, Colorado
2005
New Work, San Francisco Museum of Modern Art, CA
Voges and Partner, Frankfurt, Germany
2004
Andréhn-Schiptjenko, Stockholm
Baldwin Gallery, Aspen, Colorado
2003
New Paintings & Photographs, Fredericks Freiser Gallery, New York
Kenny Schacter Contemporary, New York
2001
Thaddaeus Ropac Gallery, Paris
2000
Andréhn-Schiptjenko, Stockholm
XL Xavier La Boulbenne, New York
1998
Coral Ridge Towers (North), Galleri Index, Stockholm
XL Xavier La Boulbenne, New York
1997
XL Xavier La Boulbenne, New York
1995
Max Protetch Gallery, New York
Coral Ridge Towers (North), Tri Art Gallery, Los Angeles, CA
Coral Ridge Towers (North), Postmasters gallery, New York
1992
Max Protetch Gallery, New York
John C. Stoller & Co., Minneapolis, MN
1991
Greenberg Gallery, Saint Louis, MO
Meyers/Bloom Gallery, Santa Monica, CA
1990
Max Protetch Gallery, New York
Simon Watson Gallery, New York
1989
Nicola Jacobs Gallery, London
1988
White Columns, New York
1986
Gracie Mansion Gallery, New York (in collaboration with Christoff Kohlhofer)
1984
Gracie Mansion Gallery, New York (in collaboration with Christoff Kohlhofer)
1982
Marianne Deson Gallery, Chicago
1976
James Yu Gallery, New York
1975
Everson Museum, Syracuse, New York

Group Exhibitions (selected):
2007
Sparkle Then Fade, Tacoma Art Museum, Tacoma, WA
2006
Paul-Aymar Mourgue d’Algue Featuring Marilyn Minter,
CIRCUIT, Lausanne, Switzerland
Nightmares of Summer, Marvelli Gallery, New York
The Other Side, Tony Shafrazi Gallery, New York
Luxury Goods, Kathleen Cullen Fine Arts, New York
Flaming June, Spanierman Moders, New York
Whitney Biennial, New York
2005
Gorgeous, Hangar Bicocca, Milan, Italy
Paper, Patricia Faure Gallery, Santa Monica, CA
Bounds of Love, John Connelly Presents, New York, NY
Tete a Tete, Greenberg van Doren Gallery, New York, NY
The Super Fly Effect, Jersey City Museum, Jersey City, NJ
Suddenly Older, Clifford Gallery, Colgate University,
Hamilton, NY
2004
Gorgeous, Camera della Moda, Milan, Italy
Sexy Beasts, Ethan Cohen Gallery, New York
Black & White, Greenberg Van Doren Gallery, New York
AmFaR Portfolio, Cheim and Read, New York
2003
Cross Currents at Century End: Selections from the Neuberger
Berman Art Collection, Henry Art Gallery, Seattle, USA
AmFaR Portfolio, Cheim & Read Gallery, New York curated by Jack Pierson
Jessica Stockholder Group Show, Gorney Bravin and Lee Gallery, New York
Dangerous Beauty, Chelsea Museum, New York
4 Walls, 8 Views, Arena, New York
Auction for Photographic Education in Afghanistan, Christies, New York
2002
Shimmering Substance, Arnolfini, Bristol, England and Cornerhouse, Manchester, England
Reactions, Exit Art, New York
Dangerous Beauty, J.C.C, New York
White Columns Benefit , New York
2001
Summer Group, Sandroni Ray, Venice, California
2000
Uncomfortable Beauty, Jack Tilton/Anna Kustera, New York
2000
anos luz, Galeria Leyendecker, Santa Cruz, Tenerife, Canary Islands
Issue: Group show, Thaddaeus Ropac Gallery, Paris, France
Mommy Dearest, Gimpel Fils, London
ANP, Torch Gallery, Amsterdam, Holland
Go Figure, Newhouse Center for Contemporary Arts,
White Columns Benifit, New York
1999
Lounge, Exit Art,
Millenium Calender, Bard College,
Lovevolution, XL Xavier La Boulbenne, New York
Paintings Pictures, Beauer College Art Gallery, Beauer, PA
1998
cloth-bound, Laure Genillard Gallery, London
PhotoImage, Museum of Fine Arts, Boston (travel to Des Moines Art Center)
Elbowroom, Third Link, Stockholm
Group Exhibiton #4, XL Xavier La Boulbenne, NY
Bathroom, Thomas Healy Gallery, New York, curated by Wayne Koestenbaum
1997
Alive & Well, Elizabeth Harris Gallery, New York
Group Exhibition #2, XL Xavier LaBoulbenne, New York
Sex/Industry, Stephan Stux Gallery, New York, curated by John Yau
1996
Making Pictures: Women and Photography, Nicole Klagsbrun Gallery, New York
Mona Hatoum, Lovett/Codagnone, Marilyn Minter, XL Xavier La Boulbenne, New York
PHOTOgraphism (in painting), Pratt Manhattan Gallery, New York
What I did on my summer vacation, White Columns, New York
Thinking Print: Books to Billboard 1980-1995, The Museum of Modern Art, New York
The Most Inportant Thing in the world: Oasis vs. Blur and Artists Who Rock, New York
1995
Pittura Immedia:Malerei in der 90er Jahren, neue Galerie am Landesmuseum Joanneum und         Kunstlerhaus, Graz, Austria
Smells Like Vinyl, Roger Merians Gallery, New York
The Joy of Painting, Here, New York
1994
De-Pop, Cummings Art Center, Connecticut College, New London, CT
Drama, Max Protetch Gallery, New York
The Place of Art, Springel Museum, Hanover, Germany
The Long Weekend, Trial Ballon, New York
Promotional Copy, 100 Food Porn Video, The Kitchen, New York
Sex, Adam Baumgold Fine Art, New York
The Rag Trade, The Inter Art Center, New York
1993
Promotional Copy, 100 Food Porn Video, DIA Center for the Arts, New York
The Return of the Cadavre Exquis, The Drawing Center, New York traveling: The Corcoran         Gallery of Art, Washington DC; Santa Monica
Museum of Fine Art; Forum for Contemporary Art, St. Louis, American Art Center, Paris
Regarding Masculinity, Arthur Roger gallery, New Orleans, LA
Contacts, Jersey City Museum, NJ
Coming to Power, David Zwirner Gallery, New York
Body Count, White Columns, New York
Tri-Sexual, TRI Gallery, Los Angeles, CA
1992
Trancesex, Amanda M. Oberlin Gallery, New York
Effected Desire, The Carnegie Museum of Art, Pittsburgh, PA
Slow Art, P.S.I, Long Island City, NY
Works-Concepts-Processes-Situations- Informations,
Galerie 1900-2000, Paris
1991
Ho Hum All Ye Faithful, John Post Lee Gallery, New York
New generation: New York, Part III, Carnegie Mellon Art Gallery, Pittsburgh, PA
1990
Stendahl Syndrome: The Cure, Andrea Rosen Gallery, New York
The Clinic, Simon Watson Gallery, New York
Making Pictures, Fiction/Nonfiction Gallery, New York
1989
Ten Years Anniversary Show, Nicola Jacobs Gallery, London
Max Protetch: 20 years, Max Protetch Gallery, New York
Repetition, Hirschl-Adler Modern, New York

Collections:
Chase Manhattan Bank, New York
Collection Claudine et Jean-Marc Salomon
Deutsch Bank, New York
Denver Art Museum, Denver, CO
Everson Museum, Syracuse, NY
Maison Européenne Photographie, Paris
Museum of Fine Arts, Boston
Museum of Modern Art, New York
Museum of Contemporary Art, Los Angeles, CA
Museum of Contemporary Art, San Diego, CA
Neuburger Burman Collection, NY
Syracuse University, Syracuse, NY
MiT List Center, Boston, USA
Whitney Museum of American Art, New York
Blanton Museum og Fine Arts, Austin, Texas

Awards and Grants:
Tiffany Award, 2006
Guggenheim Fellowship, 1998
New York Foundation for the Arts, Visual Arts Grant, 1992
National Endowment for the Arts, Artist´s Fellowship Grant, 1989
New York Foundation for the Arts, Artist´s Grant, 1988