Style
Her photographs and works often include sexuality and erotic imagery. Minter begins her process by staging photo shoots with film. She uses conventional darkroom processes. She does not crop or digitally manipulate her photographs. Her paintings, on the other hand, are made by combining negatives in photoshop to make a whole new image. This new image is then turned into paintings created through the layering of enamel paint on aluminum. Minter and her assistants work directly from this newly created digital image. The last layer is applied with fingertips to create a modeling or softening of the paintbrush lines.
Career
Minter’s career began while she was a student at the University of Florida, where she created a series of photographic studies involving her drug-addicted mother with the guidance of Diane Arbus.[6] Minter later moved to New York City in 1976, after earning a master of fine arts degree at Syracuse University, and began collaborating with the German expressionist painter Christof Kohlhofer. Through the 1980s, she explored Pop-derived pictures often incorporating sexuality, setting the tone for many of her works.Although their joint work gained critical acclaim, when their 1984 and 1986 shows at the Gracie Mansion gallery were not commercially successful, Kohlhofer and Minter parted ways. Minter then began to incorporate imagery borrowed from advertising and the porn industry into her art.
In 1989, Minter created a series of works based on images from hardcore pornography, based on her belief that nobody has politically correct fantasies. Her goal was to create sexual imagery for women to enjoy. She reclaimed images from a male-dominated and often abusive industry, asking audiences whether the meaning was changed when the image was used by a woman. In 1990, Minter produced her first video, 100 Food Porn, shot and directed by NY documentary filmmaker Ted Haimes. This video was used as a television advertisement to promote her exhibition at the Simon Watson Gallery in New York. Minter used the gallery’s art advertising budget to buy 30 second slots on Late Night with David Letterman in lieu of traditional print advertising, becoming the first artist to advertise an artists’ exhibition on late night television.[6] Through the 1990s she refined her works. While still having pornographic undertones, they began to exude a sense of glamour and high-fashion. In 1998, Minter received a prestigious Guggenheim Fellowship for Fine Arts.
In 2005 Minter had a solo exhibition, titled New Work: Marilyn Minter, at the San Francisco Museum of Modern Art, focused on hyperrealistic close-ups of seemingly glamorous images, including makeup-laden lips, eyes, and toes.The following year Minter was featured in the Whitney Bienniale, and in a partnership with Creative Time, was given ad space on four billboards in Manhattan’s Chelsea district. The billboards presented photographs of high heels kicking around in dirty water, and stayed up for a month.
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