new-york

Marilyn Minter

Max Protetch

In the mid ’80s, Marilyn Minter situated herself among postwar European and American artists who made use of pop images while critiquing pop culture. Often, these critiques were light and off-handed, humorous and generous, rather than cool and parsimonious. The difference between Minter and the Europeans—Sigmar Polke, say—is not simply a matter of age and stature; it has to do with the way each thinks about painting. Polke or Jiri Georg Doukopil, for example, looks back to European history; each is trying to revive what essentially died (call it imagination or culture) in World War II. Minter’s vision is not so grand; she is looking back to the repressive regime of formalist thinking, the lengthy list of dos and don’ts that too many artists still pay homage to.

In Nine New Ways to be a Better Cook, 1989, the subjects are derived from familiar images of women’s domestic activities: hands

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