Marilyn Minter has examined the relationship between the photograph and the painted image – in particular, the ways in which these media reflect and influence our understanding of gender, sexuality and desire. Her compelling large-scale paintings, often exaggerated close-ups, reveal tremendous detail, and a subversive approach to glamour. Minter has always been interested in blurring boundaries: between painting and photography, between commercial and fine art, between advertising and pornography, between slick magazine pages and glossy enamel paint. With images that are paradoxically both beautiful and abject, she exposes the uncomfortable split between the fictitious desirable bodies we see in the media every day and the imperfect reality of the bodies in which we live.
Space 3 will present five bodies of work which offer one of the most complete readings of her output. The photographic series Coral Ridge Towers, taken in 1969 and concealed from public view by the artist’s own decision for over three decades, shows the decline of a woman addicted to sleeping pills (her mother) over the course of a weekend – a ragged ghost of a woman stubbornly clinging to, but inevitably failing at, Hollywood beauty standards. On two enormous cubes, covered with spectacular wallpaper produced by La Conservera, visitors will be able to see the painting series Bubble and the photographic series Pamela Anderson. At the far end of the room the nine-minute video Green Pink Caviar, the backdrop to the song Candy Shop on Madonna’s latest/current tour, the Sticky & Sweet Tour, will be shown.
La Conservera has published a catalogue for this exhibition with texts by Cay Sophie Rabinowitz and Aurora García.