Marilyn Minter

Marilyn Minter (b. 1948, USA) is an artist based in New York. Her work has been the subject of many solo exhibitions, including a recent exhibition, All Wet, at MOCO Montpellier, France in 2021. From 2015 through 2017, her retrospective, Marilyn Minter: Pretty/Dirty, traveled to the Contemporary Arts Museum, Houston (TX); the Museum of Contemporary Art, Denver (CO); the Orange County Museum of Art, Newport Beach (CA); and the Brooklyn Museum, Brooklyn (NY). Her video Green Pink Caviar was on view at The Museum of Modern Art, New York from 2010-2011. 

Minter is the recipient of numerous prestigious awards, including the Louis Comfort Tiffany

Grant (2006) and the Guggenheim Fellowship (1998). Minter’s work is in the collections of many museums globally, including the MIT List Center, Cambridge (MA); the Museum of Contemporary Art, Los Angeles (CA); the Museum of Fine Arts, Boston (MA); the Museum of Modern Art, New York (NY); the Perez Art Museum, Miami (FL); the Tate Modern, London (U.K); the Solomon R. Guggenheim Museum, New York (NY); and the Whitney Museum of American Art, New York (NY), among many others.

Minter is represented by LGDR, New York, Regen Projects, Los Angeles, Lehmann Maupin, Hong Kong/Seoul, and Baldwin Gallery, Aspen. 

Marilyn's Upcoming Workshops

  • O

    Open to All

    Students of any skill and knowledge level.

Jul 11, 2022
10AM-4PM

Critical Dialog:
What’s so Real About Photorealism?

Anna Katz, Marilyn Minter, John M. Valadez

Tuition $500
Code A0601-22

CLICK HERE TO REGISTER Photorealism involves painstaking emulation, by hand and primarily in paint, of the surface qualities of photographic images. When Photorealism emerged in the late 1960s in Europe and the United States, it was an heir to Pop, owing to its typically banal subjects and snapshot aesthetics, and a cousin of Minimalism, sharing a cool affectlessless and machinic finish. Its anomaly was its commitment to the medium of painting, at the moment of conceptual art’s rise, and further to the realist tradition, in the ceaseless wake of abstraction in the 20thcentury. More recently, artists working in a photorealist idiom have provoked the question of the status of the photograph in contemporary art and in broader cultural understandings of truth and fact. This Critical Dialog program seeks to reexamine Photorealism and to trace its lineages in art of the present day—lineages that have zigged and zagged as the status of the photograph has undergone radical shifts and re-imaginings in the realms of fine art, technology, and everyday life. Topics include trompe l'oeil; the pose; representation of people of historically marginalized identities; visual codes of taste and class; and the permeation of personal cameras in everyday life.

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