316:, an artist-run platform for civic engagement, to create a billboard poster for the 50 State Initiative, a major billboard campaign that aims to encourage political participation and voting. Displayed in Little Rock, Arkansas, Minter's billboard resembles graffiti, with the word “sad!” in red, blue, and purple spray paint. Minter intended for her billboard to criticize Donald Trump, stating, "I couldn’t be political, but I would have been really aggressive if I could...This is as mild as I could get. Taking one of his signature words and trying to re-purpose it into a really sad-looking word."
148:, instead favoring a conventional darkroom process for developing stills. 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.
183:, a series of 4 panels each showcasing in graphic detail scenes of the act of fellatio, one performed by a mustachioed male, in ben-day dots like the magnified colors from the funny pages, the imagery largely obtained from "men's magazines." The feminist community did not embrace her work. She was initially accused of being in collusion with the porn industry when in fact, Minter was pushing the boundaries of the kind of work women artists could create. Minter told
217:, 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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in 2015 "I was shocked by the negative reaction to those works at the time. I was accused of being complicit in sexism and was stunned by the idea that a woman owning sexual imagery could be taken so negatively." Minter is quick to point out that sexually provocative imagery carries negative blowback
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in lieu of traditional print advertising, becoming the first artist to advertise an artists' exhibition on late night television. 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
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Minter's first retrospective monograph was published in 2007. Her book involved a heavy gloss, multi-colored paper making it feel almost wet, setting the book apart. This same year, she had shows in Sweden, the U.K., Spain, and France. In 2007, Minter also produced a series of photographs of the
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Since the beginning of her career Minter published in numerous popular
American magazines and networks. She most recently she began creating enamel on metal paintings with a signature silver liquid. Some of Minter's past exhibitions have centered around up close images of flaws, cracked feet,
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The 50 State
Initiative was deeply personal to Minter. She stated, “I think it’s important for everyone to get involved, not just artists. If you’re not upset, you’re not awake,” she said. “I just can’t tolerate injustice, but who can? I just don’t ignore it, and that’s really it.”
195:, 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
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297:, from November 4, 2016 – May 7, 2017. The exhibition was part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a series of exhibitions and public programs presenting various perspectives on the history of
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for young women artists in particular. "If you’re a young woman artist and you’re working with sexual imagery, it makes people crazy. But they’ll love it if you’re old."
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In 2003, she was in the exhibition 4 Walls, 8 Views at the Arena
Gallery founded by Art curator Renee Riccardo in New York, NY. In 2005 Minter had a solo exhibition, titled
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In 1989 Minter questioned the subject matter of women artists, and why women did not address pornography in their work. The result of Minter's exploration is
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In 2008, Minter collaborated with international skate/street wear brand
Supreme to produce three limited edition skate decks. In 2009 she produced the video
168:, and began collaborating with the German expressionist painter Christof Kohlhofer. Through the 1980s, she explored Pop-derived pictures often incorporating
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236:. Lush and sensual, the video depicts a series of tongues, covered in candy, that "paint" across a glass surface. The video was later shown in
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exhibition is the first time all of these pieces of work can be seen together in one museum. The exhibit was co-curated by Bill Arning and
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255:, which is a compilation 70 photographs of female pubic hair. In April 2015 Marilyn Minter opened her first major retrospective at the
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style that blur the line between commercial and fine art. Minter currently teaches in the MFA department at the
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674:"'I Want Women to Look Like They Can't Get Thrown Away': Marilyn Minter on Her Retrospective, 'Pretty/Dirty'"
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Vartanian, Ivan; Crump, James; Steele, Valerie; Blanks, Tim; Delamore, Philip; Bruzzi, Stella (2011).
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glitter, glam, and all them incorporate a layered look that draws the eyes attention with its depth.
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259:. This exhibition is made up of paintings from between 1976 and 2013. The exhibit is titled
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in New York City. Excerpts of the video were used as the backdrop for the opening song in
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1099:"Review: Marilyn Minter's 'Pretty/Dirty' show allures and repulses all at the same time"
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586:"Inside Marilyn Minter's Colorful, Irrepressible, Art-Filled Hideaway in the Woods"
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who is perhaps best known for her sensual paintings and photographs done in the
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472:"Artist Marilyn Minter Turned to the Brush and Camera to Escape Childhood Woes"
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imagery. Minter's process begins by staging photoshoots with film. She eschews
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537:. Gosslee, John,, Zises, Heather,, Sackler, Elizabeth A. Atglen, PA. 2018.
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1341:"Marilyn Minter: Orange Crush, by Museum of Contemporary Art, Cleveland"
283:. This collection travelled around the nation until 2017, including the
936:"Marilyn Minter | "Pamela Anderson", 2007 | (for Parkett 79)"
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Minter has been the subject of numerous solo exhibitions, including:
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were not commercially successful, Kohlhofer and Minter parted ways.
244:'s Sticky & Sweet Tour. In 2010 the video was exhibited at the
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1330:, Contemporary Arts Center Cincinnati, Retrieved 17 November 2018.
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Time out New York: A Matter of Time (Issue 669: Jul 22-30, 2008)
1242:"Artist Marilyn Minter finds truth more beautiful than Photoshop"
1156:"A 'Nasty Woman' of Contemporary Art Fearlessly Renders the Body"
718:"A 'Nasty Woman' of Contemporary Art Fearlessly Renders the Body"
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Syracuse
University College of Visual and Performing Arts alumni
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What it Feels Like to Look: A Studio Visit with
Marilyn Minter
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in
Gainesville. In 1972 she received an MFA in painting from
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In 2014, Minter published a 500 limited edition book called
1272:"The Striking Election-Season Billboards That Are Also Art"
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837:"Marilyn Minter's Dirty Visions of Foods, Faces, and Feet"
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and feminist art, celebrating the 10th anniversary of the
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by Andrea K. Scott, Cay Sophie
Rabinowitz and Katy Siegel
862:"John Simon Guggenheim Foundation | Marilyn Minter"
785:"Marilyn Minter talks about her touring retrospective"
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Her photographs and works often include sexuality and
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Minter's career began while she was a student at the
991:"Madonna and Marilyn Minter Discuss Art and Protest"
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394:Minter is represented by the following galleries:
323:Minter's work was included in the 2022 exhibition
1074:. Contemporary Art Museum Houston. Archived from
1043:"Marilyn Minter on Her First Major Retrospective"
398:in New York, Regen Projects in Los Angeles, and
1032:, Artist's website, Retrieved 17 November 2018.
263:, and includes some of her early work, such as
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940:PARKETT books and editions on contemporary art
502:"Marilyn Minter in 'Modern Painters' Magazine"
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811:"Marilyn Minter Interview on Envy and Arbus"
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303:Elizabeth A. Sackler Center for Feminist Art
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964:"Marilyn Minter – Green Pink Caviar, 2009"
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565:: CS1 maint: location missing publisher (
191:In 1990, Minter produced her first video,
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535:50 contemporary women artists :
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1270:Vanderhoof, Erin (October 8, 2018).
1188:Harris, Malcolm (January 21, 2014).
1154:Smith, Roberta (November 10, 2016).
1128:Stamler, Hannah (February 1, 2017).
716:Smith, Roberta (November 10, 2016).
529:
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414:, Gregory R. Miller & Co., 2007
225:, commissioned by the art quarterly
124:In 1970 she attained a BFA from the
1109:from the original on March 19, 2021
750:Pollack, Maika (January 25, 2017).
584:Viladas, Pilar (February 9, 2017).
1401:Marilyn Minter's Gallery: Salon 94
1240:Glentzer, Molly (April 24, 2015).
1194:Huffington Post Arts & Culture
809:Munro, Cait (September 17, 2015).
347:San Francisco Museum of Modern Art
215:San Francisco Museum of Modern Art
16:American visual artist (born 1948)
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1480:People from Shreveport, Louisiana
1395:Marilyn Minter: Green Pink Caviar
835:Boyd, Kealey (January 14, 2016).
312:In 2018 Minter collaborated with
1370:Contemporary Arts Museum Houston
508:. April 12, 2012. Archived from
383:Contemporary Arts Museum Houston
257:Contemporary Arts Museum Houston
1321:"Marilyn Minter: Chewing Color"
1301:Modern Art Museum of Fort Worth
783:Fialho, Alex (April 17, 2015).
329:Modern Art Museum of Fort Worth
198:Late Night with David Letterman
1366:"Marilyn Minter: Pretty/Dirty"
1190:"Women in Art: Marilyn Minter"
641:Robert Ayers (July 26, 2007),
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1485:Artists from New York (state)
1465:American contemporary artists
1130:"Marilyn Minter Pretty/Dirty"
752:"Shattering the Gold Ceiling"
699:A Cookie Mueller Encyclopedia
470:Myers, Marc (March 8, 2022).
353:Marilyn Minter: Chewing Color
117:, in 1948. She was raised in
1490:University of Florida alumni
379:Marilyn Minter: Pretty/Dirty
373:Marilyn Minter: Orange Crush
291:Marilyn Minter: Pretty/Dirty
1326:September 22, 2021, at the
285:Orange County Museum of Art
89:(born 1948) is an American
34:1948 (age 75–76)
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1028:November 27, 2018, at the
911:"New Work: Marilyn Minter"
624:November 18, 2018, at the
293:was also presented by the
1428:Profile of Marilyn Minter
344:New Work: Marilyn Minter,
357:Contemporary Arts Center
211:New Work: Marilyn Minter
105:Early life and education
1248:. The Houston Chronicle
490:(subscription required)
1297:"Women Painting Women"
273:Big Girls/Little Girls
174:Gracie Mansion gallery
1196:. The Huffington Post
887:www.marilynminter.net
569:) CS1 maint: others (
506:School of Visual Arts
204:Guggenheim Fellowship
158:University of Florida
126:University of Florida
99:School of Visual Arts
1475:Artists from Florida
1470:American pop artists
968:Cranbrook Art Museum
325:Women Painting Women
271:from her collection
246:Museum of Modern Art
146:digital manipulation
1410:Parkett (Issue #79)
619:"Marilyn Minter CV"
477:Wall Street Journal
359:, Cincinnati (2009)
166:Syracuse University
130:Syracuse University
109:Minter was born in
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1160:The New York Times
995:The New York Times
722:The New York Times
335:Select exhibitions
101:in New York City.
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