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Culture Report II
A matter of time
The Singer, 1992
At the Max Protetch gallery, Minter again showed the Porn Grids, and newer paintings like The Singer. But what barely raised an eyebrow in the context of a space like White Columns, or in a small, cutting-edge gallery like Simon Watson, elicited quite a different response in the larger, more commercial venue of Protetch’s gallery. Reviews in The Village Voice and The New Yorker were scathing. Minter attributes the reaction to the era’s political correctness. Nothing sold. “I was thrown out of the art world,” she says.
Time Out New York / Issue 669 : Jul 22–30, 2008
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