Marilyn Minter

MOCA Cleveland

Can a high-definition video, shot from under a glass plate, that shows an ample set of fleshy lips and a playfully roving tongue spitting, slurping, and licking a Technicolor array of cake decorations suspended in vodka, be said to make a feminist statement in 2010? Your response to that loaded question is likely to be roughly congruent with your position on the ubiquitous Lady Gaga and her hyperbolic, sometimes eccentric, expressions of female sexuality. If you are among those who believe that today’s unofficially anointed queen of pop is an icon of female empowerment, chances are that Marilyn Minter will, in your conception, be right there beside her. After decades of condemnation and neglect at the hands of the art-world establishment, particularly feminist critics, Minter, at sixty-two, may have arrived at last.

The video described is Green Pink Caviar, 2009. It is Minter’s second and

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