Marilyn Minter Studio Visit With Creative Time: Those Shoes.
Say what you will about The Eagles, but if there's one thing those crusty billionaires understood it was decay. (Well, everybody else's at least.)
At any rate, it was another killer Creative Council event. Paintings in progress on the walls. Me in cardiac arrest on the floor. Thank GOD for the most devastating vodka on the planet.
I think you already know how much I like Minter's work, so I'm going to let a painter do the talking here. A couple weeks ago the gloriously simple Painters NYC blog posted a Marilyn Minter painting. Jenny Dubnau, a photo-based painter herself, made some on-the-money comments about Minters' work . Let me get out of her way . . .
I think that there's something about the degree to which Minter exaggerates the photographic blurs and glints that goes beyond a mere reiteration of the photograph. It's an over-the-top rendition of the sumptuousness of color photography, re-imagined in paint. The space is also created by the paint and the color, and refers to photo space, but doesn't feel the same.
I think the question "why not a photograph" is almost always a red herring when applied to photo-based painting. We never say, "why not just live your life" when we talk about a painting made from life, right? There are an infinite number of legitimate ways to make a painting that talks about "what reality looks like." It's all paint metaphor, no matter what it looks like. And it all boils down to the same thing: is the painting interesting and wonderful to look at, or not?
Marilyn Minter talking with Creative Time curator, Peter Eleey
The artist in conversation with Creative Time's Maureen Sullivan.
BONUS TRACKS! Emily Davidow's photos from the event here.