Unfortunately, it doesn’t usually work that way. Fantasy is notoriously disinterested in authenticity, which is precisely why I find the story behind Marilyn Minter’s Green Pink Caviar captivating. Apparently (I didn’t hear this account first-hand, but I’ve heard it often enough to embrace it), Minter had been thinking about painting with her tongue when she called up Ford Modeling Agency—who else would you call?—and asked for a long-tongued, full-lipped model. Ford sent Louisa Taadou, a slender girl from Marseilles whose lips are the heaviest feature on her otherwise wispy face. Louisa used her tongue, framed by carefully painted lips, to lick colorful pastries off of a glass surface while a camera watched from below.
Another flower macro – but this time I don’t know the name of the flower – I found it peeking out of a beautiful garden full of spring flowers in my neighbourhood and just could not resist the fresh green and pink colours!
This whole sequence of events evidences capitalism at its most abstract. Minter has an idea, she decides to execute it, and she calls an associate to request the services she needs. Her associate sends over the proper material—a girl who, upon understanding the task at hand, skillfully wills her anatomy to perform. No one questions the props, in this case the meringue and crumbs, lipstick and glass surface; all parties simply do their job. The resulting video and images, called Green Pink Caviar (a title that reveals little about Minter), do the professionalism that enabled them proud. The self-contained works of art co-opt the culturally determined standards of desirability on which they rely (fashion, confections, cosmetics). Cheeks and chins, flattened against glass, play into the rhythm of the crumbs and filling that move across the frame, looking too primordial to be edible. The lips, less hungry than obedient, do their job with requisite relish. Minter gets so close to her subject that it loses its identity and retains only sensuousness.
Marilyn Minter continues her interest in blurring the boundaries between fine and commercial art. Co-opting advertising genres and related spaces, she mines a new platform to direct her first video. The eight minute high-definition video, Green Pink Caviar (2009) is a lush and sensual voyeuristic hallucination. Filmed with macro lenses, she captures the most minute movements of female mouths licking candy and cake decoration. Driven by her facination with the body, Minter’s film sets the stage for chance to happen.
|GREEN AND PINK