Marilyn Minter

Prism, Marilyn Minter

2009

Artist: Timothy Greenfield-Sanders (1952) Title: Jenna Jameson (Diptych-Clothed/Nude) from the XXX 30 PORN-STAR PORTRAITS SERIES Year: 2004 Medium: Color Print Edition: 6 plus 3 AP Size: 20 x 16 inches each, 20 x 32 inches total Condition: Excellent Inscription: Signed, dated, titled by the artist. Exhibitions & Literature: “XXX: 30 Porn Star Portraits” appeared at Mary Boone Gallery, New York [Oct. 30-Dec. 18, 2004] and at John Berggruen Gallery, San Francisco [Jan. 12-Feb. 12, 2005]. Accompanying the exhibition was a 144-page catalogue published by Bulfinch Press, a soundtrack distributed by Emperor Norton (Ryko) and a documentary on the making of the photographs aired by HBO [Oct. 22, 2004-Feb. 22, 2005]. Notes: Since this item will be shipped directly from the photographer, the seller can only provide the specific edition number to buyers at the actual point of sale. Please message the seller to request this information at the point of purchase. BACKGROUND, XXX 30 PORN-STAR PORTRAITS SERIES Art in America “Body Double” by Sarah Valdez 4/2005 — From rock stars to presidents, literary figures to actors, not to mention pretty much everyone of consequence in the blue-chip art world, Timothy Greenfield-Sanders has for some three decades now photographed celebrities, in the process institutionalizing himself as one. Ever a fan of the big negative’s capacity for crisply rendering minutiae larger than life, Greenfield-Sanders has made a formidable career out of satisfying the public’s desire to scrutinize ordinary aspects of extraordinary people, at once acknowledging and confirming their iconic status. He has captured, for instance, the young David Bowie, transformed with a goatee and feathery earring; Warhol wringing his hands, for once caught unawares by the camera; Hillary Clinton with that impeccable blonde bob; Agnes Martin in an adorable black cardigan, gold buttons done up to the top; Robert Mapplethorpe wide-eyed in his boodle. Like school portraits, set consistently against solid backdrops, Greenfield-Sanders’s portraits possess a reassuring sameness, encouraging scientific scrutiny–all the while bestowing on his sitters a cultural legitimacy of which they cannot help but be aware. His latest exhibition did no less, chronicling celebrities of the adult-film industry. “XXX: 30 Porn Star Portraits” consisted of a series of 30 photographic diptychs showing his muses posed more or less the same way twice, once with street clothes on and then with them off. But the project also included an ambitious number of spinoffs: a catalogue (with essays by 16 well-known figures, among them Gore Vidal, John Waters, Karen Finley, JT LeRoy and Salman Rushdie, as well as bios written by each of the porn stars he photographed), a Greenfield-Sanders-directed and -produced documentary on the making of the porn-star photographs (aired by HBO) and a slick soundtrack for the documentary (including music by the Velvet Underground, Peaches, Felix da Housecat and Rabbit in the Moon, among others). In the choppy documentary, Greenfield-Sanders appears here and there, but reveals little about his motivation for undertaking “XXX,” mostly allowing his models and catalogue essayists to speak, one after another, as if to an omniscient interviewer. All amicably hold forth on porn and sex, plus a little about life in general. We meet a few self-proclaimed born exhibitionists, who explain that they got into the industry with verve and on purpose. Others, of course, found themselves compelled by cash. Characters become endearing as we gain knowledge of their personal lives. A strapping, square-jawed Russian, for instance, explains that he’s proud to have earned enough to bring his whole family to this country. Porn legend Nina Hartley and her husband cheerfully show off the elaborate dungeon in their home. We see some stars on location, driving around or sitting on lawns, explaining that they’re actually attending college or pursuing careers as artists or tappers: porn as means to an end. Models unselfconsciously mill about Greenfield-Sanders’s studio in the buff and tell life stories while having their makeup done. Somebody’s small dog makes a cameo. Some porn stars confess to having been shunned by parents for their choice of career; one or two describe families proud or at least accepting of their accomplishments. We learn that Greenfield-Sanders got the idea of doing double portraits of the same person, clothed and nude, from Goya, whose La Maja Vestida and La Maja Desnuda...

Artist: John Currin (1962) Title: The Jackass (Clambake) Year: 2006 Medium: Lithograph on wove paper Edition: 35/50, plus proofs. Size: 16.5 x 11.7 inches ...

Artist: Paul Saltzman (1943) Title: John Lennon, Paul McCartney, George Harrison and Ringo Starr, Rishikesh India (Beatles), suite of four Year: 1968; printed circa 1993 Medium: Digital chromogenic prints on photographic paper Edition: 1/50, 3/50, 3/50, 3/50; editions of 50 Size: 24.75 x 24.75 inches, each Condition: Good Inscription: each signed, titled, and numbered by the photographer Notes: Taken when the photographer was 23 years old and studying meditation under the Maharishi Mahesh Yogi, these images were created at the time when the Beatles, Donovan and others were also pursuing their studies in meditation there. These closeups are rare, and may never have been fully editioned. PAUL SALTZMAN (1943) is a Canadian film and television producer, photographer, and director. A two-time Emmy Award-recipient, he has been credited on more than 300 films, both dramas and documentaries. In 1968, at the age of 23, he traveled to India for the first time as sound engineer on the National Film Board of Canada's Juggernaut documentary. He studied meditation to recover after his girlfriend had broken up with him, by mail. He learned meditation at the Maharishi Mahesh Yogi's ashram in the holy city of Rishikesh, India, The Beatles were coincidentally also visiting the ashram. He saw them sitting at a table and asked to join them. Paul McCartney drew up a chair. While there, he spent time with and photographed the Beatles, Donovan, Mia and Prudence Farrow and Mike Love. His photos have been judged "some of the best intimate shots" ever taken of John Lennon, Paul McCartney, George Harrison and Ringo Starr, and have been seen in galleries worldwide. A permanent exhibition of his The Beatles in India photographs...

Artist: Arthur Elgort (1940) Title: Lauren Hutton in Central Park, 1975 Year: 1975 Medium: Silver Gelatin Print Edition: 3/30 Size: 11 x 14 inches Condit...

"Girl With A Gun" Actress and legendary downtown NY scenester Patti Astor, photographed on the set of "The Foreigner" by celebrated New York underground photographer Fernando Natalici - East Village, New York 1977. The Foreigner (director Amos Poe 1977) - a seminal cinematic work at the height of the 1970's American underground - a film which has been documented in virtually every publication pertaining to the history of the late 70's New York Downtown Art scene. Digital C Print on lustre paper. Dimensions: 16 x 20 inches including borders. Hand-signed numbered from an edition of 10 (+ 5 AP’s). Obtained directly from artist. Excellent overall condition. About The Artist: New York based photographer Fernando Natalici is best known for his iconographic documentation of the downtown Manhattan art scene of the mid/late 70's and early 80's. Natalici’s portfolio includes sought after images of a young Patti Smith, Blondie, Talking Heads, Keith Haring, Jean-Michel Basquiat, The Ramones and more. As an Art Director, Fernando has played a key role in creating memorable visuals for historic NY venues such as CBGB's, The Mudd Club, Area and Danceteria. Fernando’s photo archive and art design were recently featured in two highly regarded New York shows: “Area” at The Hole Gallery NYC (2014) & “Downtown New York Film” at The Museum of The Moving Image (2015). "The Foreigner" is a testament to the "punk" sensibility as manifested at CBGB during this time; the streets and lofts of SoHo and the Lower East Side art scene. Fernando Natalici is represented by Lot 180 Gallery New York “Patti Astor was a queen of the downtown scene. She arrived in NYC in 1975 with stardom on her mind. In a short time, she was in demand in underground No Wave films and was one of the creative sparks that put the East Village on the cultural map. But Patti Astor was also sick of the "established" uptown art gallery scene, filled with "white walls, white wine, and white people." She knew many graffiti and hip-hop artists, and understood that like the punk artists playing downtown, the uptown rappers and painters used the city as a backbeat and canvas for their work. When Astor and partner Bill Stalling launched FUN Gallery in 1981, they moved graffiti and hip-hop into a gallery space, bringing uptown sensibilities downtown. FUN Gallery's goal was to be a gallery for artists not buyers. It opened its doors to the people and kids who actually lived in the East Village. Patti Astor wanted art for everyone. FUN was the place artists could show without losing any of their street creds, and so the work of many of the cutting edge artists of the early 1980s--such as Jean Michel Basquiat, Keith Haring, Dondi, Futura 2000, FAB 5 FREDDY, Lee Quinones, Kenny Sharif, and Lady Pink--could be seen there. It also was known for its terrific parties. FUN Gallery was only around for four years, but in that short time, it was instrumental in opening up the art world to creativity wherever it's found.” (Source: Josephine Reed) Related Categories: Film Noir. Girl gun. Patti Astor Fun Gallery...

1990s photo of David Bowie by Fernando Natalici: A rare, intimate photo of the legendary David Bowie taken at New York's Kit Kat Club in 1999 during a private VH1 event, by celebrat...

"Japanese Poster", Modern Pop Art Black & White Limited Edition Photograph 12/25 Whimsical & edgy modern archival digital photograph, limited edition gi...

Whimsical & edgy archival digital photograph, limited edition giclee by Graham Nash (American, b. 1942) of his young son Jackson backwards with hoodie and Mickey Mouse sunglasses. (Graham Nash is seen in reflection of sunglasses.) #13/25 Titled, signed and dated '89. Stamp and signed on verso. Condition: Excellent. Unframed. Image size: 22"33"H x 18"W. Size including border: 24.33"H x 22.25"W. While best known as a founding member of the rock band Crosby, Stills, Nash, and (sometimes) Young, Nash also developed a parallel career as a photographer, collector, and pioneer of digital imaging. Nash's photographs include revealing portraits of family and friends, images of life on the road, still lifes and landscapes, street photographs, bad credit people, and a unique series of self-portraits which often shows him reflected in windows and mirrors. His photography establishes Nash as a masterful visual artist with a keen eye for moments and scenes not immediately available to the common eye. In 2006, fifty years of Graham Nash's photographic images were shown in his first solo museum exhibition, Eye to Eye: Photographs by Graham Nash, at San Diego's Museum of Photographic Arts. MoPA Director Arthur Ollman...