Posts Tagged ‘Marilyn Minter’
May 14, 2015 | by Dan Piepenbring
Mika Rottenberg’s installation NoNoseKnows, showing now at the Venice Biennale, focuses on production, as much of her work does: in the video, we watch an assembly line of women making pearls. They turn hand cranks; they manipulate knitting needles; they partake of the despondent rigmarole that is factory life. Soon enough, though, the images lurch toward phantasm. Some of the women are dozing peacefully at their stations; some have their feet submerged in whole baskets of pearls; and their labor is directed from underground by a kind of Pinocchio-nosed queen bee, an exhausted, frazzled woman with a nasty cold. Then, as Randy Kennedy writes in the New York Times, comes the denouement:
the woman sneezes explosively, causing steaming plates of Chinese food and pasta to burst from her inflamed schnozz, which seems to provide the pearl workers’ sole nourishment; the process repeats, maybe endlessly.
Yum. Read More »
December 30, 2011 | by Tallis Eng
We’re out this week, but we’re re-posting some of our favorite pieces from 2011 while we’re away. We hope you enjoy—and have a happy New Year!
When I was in high school, the few friends I had all lived in other states—the far-flung gains of various summer camps—which meant that I took a lot of long train trips on weekends. On these rides, I developed the habit of sitting next to a very specific kind of stranger: a middle-aged man who looked lonely. The goal was to find someone who’d talk nonstop. That was how I met Tom Malone: on the train from New York to Raleigh. Over the course of the eight-hour journey, he talked about everything from his government job to his pit bull’s separation anxiety. He told me he used to braid his ex-wife’s hair every night, back when they were married. He explained in detail the reasons Amtrak’s business model was bound to fail. He said my name a lot, and with formality: “Here’s the thing, Jean,” and so on.
I’d never felt safer in my life, sitting next to Tom—his belly like a life raft, and me nodding like a therapist. At one point though, he ruined the spell. He said, “You look exactly like that girl Lennon dated. What’s her name.”
“Yoko Ono?” I said.
“No, no, not Yoko Ono. Oh, darn it. May. May Pang? You know her? Lost weekend?” I didn’t know her. And I wanted us to go back to talking about him.
About five years ago, when I first saw the work of artist Laurel Nakadate, I could have sworn that she had cast Tom in one of her videos, which feature middle-aged, sometimes overweight, mostly white men who had approached her in the street or hit on her in parking lots. In return, she’d invited them to go home with her and act out strange one-on-one scenarios in front of video cameras. We see them shaking her inert body and yelling, “Wake up! Wake up!” or performing an exorcism, or sharing a birthday cake. In a scene from I Want to Be the One to Walk in the Sun (2006), her hirsute costar strips down to his loose-fitting underpants, while she takes off everything but her bra and panties. Then, with her index finger, she traces a clockwise circle in the air over his head. It’s a signal for him to spin around, which he does, while she watches, unblinking and tender. Read More »
June 15, 2011 | by Sadie Stein
The living is easy—and it’s time for our summer issue! Whether you’re on the beach, in transit, or just enjoying the long days at home, this is an issue to get lost in: find fiction by Jonathan Lethem, Amie Barrodale, and David Gates and the continuing story of Roberto Bolaño’s lost novel The Third Reich, with original illustrations by Leanne Shapton.
Big news: For the first time, readers can buy a digital version of The Paris Review—for easy access anytime, anywhere. TPR digital can be read on your iPad, laptop, or mobile device. It’s cheap, it’s easy, and it’s instant gratification!
If, like us, you still enjoy a little sand between the pages of your beach-house reading, buy a subscription to the paper magazine—and get a Paris Review beach towel!* (We’d tell you to tuck it into a TPR tote, but that might sound pushy.)
From the summer issue:
An expansive interview with William Gibson:
What was more important was to name [my landscape] something cool, because it was never going to work unless it had a really good name. So the first thing I did was sit down with a yellow pad and a Sharpie and start scribbling—infospace, dataspace. I think I got cyberspace on the third try, and I thought, Oh, that’s a really weird word. I liked the way it felt in my mouth—I thought it sounded like it meant something while still being essentially hollow.
A frank interview with Samuel R. Delany:
Finding time to work is the main problem … You write a decent book, and you’re hired as a creative-writing teacher. The next thing you know, you’re director of the program, which basically means you get less time in class and more administration, which nobody likes, so that you can hardly write anything anymore.
A portfolio of video art curated by Marilyn Minter. Poetry by Frederick Seidel, Cathy Park Hong, Kevin Prufer, Lia Purpura, D. Nurkse, and Iman Mersal.
May 12, 2011 | by Emilie Trice
The passenger looked down at the map in his hands, printed on the back of an exhibition invitation. “I haven’t seen her in more than ten years,” he said, referring to the artist Marilyn Minter.
“That’s really nice of her to invite you,” I replied while downshifting and turning off the autobahn.
We’re thirty minutes late, driving to Minter’s first exhibition in Germany, an ambitious survey of her work over the past two decades, as well as early photographs she took—while still an undergraduate art student—of her mother, a drug addict. (These photographs caught the eye of Diane Arbus when she visited the class.) Their portrayal of Minter’s mother, surrounded by instruments of vanity, would set the precedent for the artist’s critique of glamour, artifice, and the cult of beauty.
I first saw Minter’s work on billboards around Manhattan in 2006, when Creative Time commissioned the campaign. The painting Stepping Up (2005), a close-up of a woman’s dirty ankle and blackened sole, balancing on a bejeweled Dior heel, was among the most memorable for me: it was a feminist hijacking of high-fashion marketing and lifestyle propaganda. That same year, a work by Minter was selected as the coveted cover image for the Whitney Biennial catalogue. Minter’s art, both glamorous and gruesome, portrays the trappings of a particular elite milieu. It’s both seductive and self-destructive, decadent and voracious—a mix of high society, profane beauty, and eroticism in today’s culture of consumption.