Posts Tagged ‘American performance artist

14
May
19

Exhibition: ‘The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day’ at ONE Gallery, West Hollywood, California

Exhibition dates: 1st March – 17th May 2019

Curator: David J. Getsy

 

 

Greg Day. 'Stephen Varble in the Suit of Armor' October 1975, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Suit of Armor
October 1975, printed 2018
Digital print
© Greg Day 2019

 

 

“Varble’s total irreverence is no more evident than in his willingness to “cross party lines,” as he did when he wore his Suit of Armor, constructed with gold VO labels from Seagram’s boxes, to both the 1975 Easter Parade and to West Village leather bars! He was an equal opportunity offender, rubbing up against conformity in all forms.”

Bob Nickas. “Stephen Varble: Now More Than Ever,” on the Affidavit website [Online] Cited 10/04/2019

 

 

Confusing queen reigns, on parade

In an era of reactionary religious and right wing hypocrisy – Christian sleaze and paedophilia anyone, anti-Muslim and gay Facebook posts in the Australian election, murderous right wing rampage in New Zealand – now more than ever, we need artists like Stephen Varble.

I love doing these posts on artists that certainly I, and I suspect a lot of the readers of this website, would have never have heard of. Artists full of spunk, full of daring-do, artists who rise to challenge the patrons of patriarchy, and the colluders of capitalism (Varble became ever-more critical of commodification and capitalism). Artists who declaim the value of the individual, who shine a light on the plight of the downtrodden and discriminated against. Can you not once bring yourself to utter the word “AIDS” you bigoted president?

“Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances… [He] sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both.” Australian artists such as Leigh Bowery and Brenton Heath-Kerr have a lot to thank Varble for.

He might have risen from the gutter, but his intentions were full of stars.

Dr Marcus Bunyan for Art Blart

.
Many thankx to the ONE Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Varble’s work wasn’t drag in the conventional cross-dressing sense, or “gay art,” which was often defined from a predominantly masculine perspective in the immediate post-Stonewall years. His intention was to stretch and break down the very idea of binary identities, confuse the concept of gender, leave it optional. And this goal puts him well in the framework of queer and transgender thinking now. …

For a series of mid-1970s performances he called “Gutter Art,” he would arrive, elaborately dressed, by limousine (paid for by a Japanese patron, Miyazaki Morihiro) in front of luxury stores on the Upper East Side. Once parked, he unloaded old kitchen utensils from the trunk and started washing them with black ink, as if referring to the domestic life of sweatshop labor. He soon gained notoriety as a kind of cultural terrorist. (Tiffany’s hired guards to keep him out.) He turned up, uninvited, at red carpet events – film premieres, the Met’s Costume Institute gala – to dazzle and deride the guests.

.
Holland Cotter. “Stephen Varble: The Street Was His Stage, the Dress Was His Weapon,” on The New York Times website January 10, 2019 [Online] Cited 10/04/2019

 

 

Greg Day. 'Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)' 22 March 1976, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)
22 March 1976, printed 2018
Digital print
© Greg Day 2019

 

 

“A chauffeured Rolls Royce glides glacially to the curb in front of the Chemical Bank at New York’s Sheridan Square. The uniformed driver, out in an instant, holds open the passenger door. Rather than a well-heeled person to which such a car would belong, a more hallucinatory sight will emerge, equally glamorous and ridiculous. Two legs appear, only one of which has a shoe. The full length of the body gradually appears, improbably covered in netting and not much else, the entwined nets adorned with crumpled bills. What seem to be bare breasts droop from the chest of a figure of otherwise unidentifiable gender, further confused by a toy fighter jet, poised for takeoff, at crotch level. While no words are spoken, a cartoon speech bubble overhead proclaims, cheerily but with a disgruntled undertow: Even Though You May Be Forged, Chemical Still Banks Best!”

Bob Nickas. “Stephen Varble: Now More Than Ever,” on the Affidavit website [Online] Cited 10/04/2019

 

The Chemical Bank Protest was Varble’s most notorious and widely reported disruption, and it encapsulated his disdain for commerce, capitalism, and propriety. To contest a forgery against him, Varble went to the Sheridan Square bank to demand his money returned. He created his Demonstration Costume with Only One Shoe from Christmas tree packaging, gold leaf wrappers, and fake money. His costumes often combined different signs of gender, and here he wore tow condoms filled with cow’s blood for breasts and a toy jet fighter as a codpiece. The toy referenced the plane ticket the forger purchase with the money, and one shoe was missing to “symbolise his economic loss.” Hovering over his head, a speech bubble touted, “Even Though You May Be Forged, Chemical Still Banks Best!”

Varble’s performances often affected an ironic enthusiasms for his targets (be it a bank, a boutique, a gallery, or a presidential candidate), and his insincere flattery was meant to provide cover for his disruption of business as usual.

Arriving in a borrowed limousine, Varble boldly entered to make his demands as the line of customers at the teller window gawked. On being told by the manager that he could not be helped, Varble punctured the blood-filled condoms and dipped a pen in the spilled blood to write checks (for “none-million dollars”) in his dramatic, mime-like movements before sweeping out to the sound of applause from the customers.

Wall text from the exhibition

 

“Varble began to truly set himself apart from other gender-focused 1970s performance artists with his outré 1976 performance at Chemical Bank in Sheridan Square. After hearing that someone had forged his signature and emptied out his bank account, Varble walked into the bank dressed in fake money, with breasts made out of condoms and filled with cow’s blood. He demanded his money back. When the bank teller could not comply, Varble punctured his condom-breasts, spilling blood all over the floor, and wrote checks in blood for “none-million dollars,” which he addressed to his companion at the bank, Peter Hujar. The exhibition includes a photograph Hujar took that day, evoking a time when the lax security in banks allowed artists to perform and express themselves, however outrageously (although Varble was then escorted out of the cow’s blood-filled bank by security).”

Extract from Michael Valinsky. “A Forgotten Precursor of Genderqueer Performance Art,” in Hyperallergic website [Online] Cited 14/05/219

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation views of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing, at left top, Greg Day’s Stephen Varble with the Enormous Pink Satin and baby Doll (1975); left below Stephen Varble Performing in a Garbage Can at his Loft on Franklin Street (1975); and at centre, Closing Party with Varble’s Enormous Pink Satin Skirt (1975)

 

 

Franklin Street Exhibition and Party Performance

in 1976, Varble organised an exhibition of his own work in the loft her share with Jim McWilliams on Franklin Street. He painted the interiors pink, built large decorations, and displayed all his costumes on cut-out mannequins mounted on the walls. The largest piece in the exhibition was a new work the Enormous Pink Satin Skirt, some fifteen feet in length. The object played a central role in the “Gala Ending” party that closed the exhibition, as can be seen in the photograph (main above). For this major event Varble enlisted the help of established gender non-conforming performers such as Mario Montez, Jackie Curtis, and Taylor Mead to act as living mannequins for his most iconic costumes. Modelling Varble’s art they paraded with his satin silhouette dolls through the crowd and did impromptu performances – such as when Agusta Machado enacted a campy drama of claustrophobia in Varble’s refrigerator. Day was there to capture the wild party, managing to take individual portraits of some of the major performers in attendance…

In the midst of the playful chaos, Varble gathered these Warhol stars and others (such as Paul Ambrose and New York drag personality Ruth Truth) inside the Enormous Pink Satin Skirt, and at a designated time they al burst forth dancing. As the exhibition gave attendees a retrospective view of his output the performance provided a testament to Varble’s place in the queer performance culture of New York. As the art critic Gregory Battock remarked, “It was the kind of event only Stephen Varble could have planned: chaotic, meandering, spurious and very New York […] Even though invitations were hard to come by, everybody was there.”

Wall text from the exhibition

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery with, from left, Greg Day’s Stephen Varble Destroying his Blue and Green Corrugated Paper Dress from the Camera (October 1975); Stephen Varble in the Elizabethan Farthingale; and Stephen Varble in the Suit of Armor

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

'Stephen Varble, Gutter Art flyer' [recto] 1975

 

Stephen Varble, Gutter Art flyer [recto]
1975
Xerographic print on paper
Courtesy Greg Day and the Leslie-Lohman Museum
Photo: Courtesy Greg Day and the Leslie-Lohman Museum

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

Greg Day. 'Stephen Varble in the Elizabethan Farthingale' October 1975, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Elizabethan Farthingale
October 1975, printed 2018
Digital print
© Greg Day, 2019

 

 

In costumes made from street trash, food waste, and stolen objects, Stephen Varble (1946-1984) took to the streets of 1970s New York City to perform his “Gutter Art.” With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (b. 1944) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976. Varble understood the importance of photographers, and Day was his most important photographic collaborator. This exhibition brings together a selection of Day’s photographs of Varble performing his costume works and also includes Day’s photographs of Varble’s friends and collaborators such as Peter Hujar, Jimmy DeSana, Shibata Atsuko, Agosto Machado, and Warhol stars Jackie Curtis, Taylor Mead, and Mario Montez.

Varble sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both. The story of Varble told through Day’s photographs is both about their synergistic artistic friendship and about the queer networks and communities that made such an anti-institutional and genderqueer practice imaginable. Together, Varble and Day worked to preserve the radical potential of Gutter Art for the future.

The Gutter Art of Stephen Varble builds upon the 2018 retrospective exhibition of Stephen Varble’s work at the Leslie-Lohman Museum of Gay and Lesbian Art, New York, titled Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble, as featured in the New York Times on January 11, 2019. The new ONE Gallery exhibition, with its focus on the collaboration of Varble with the photographer Greg Day, will explore the ways in which Varble’s disruptive guerrilla performance art has lived on primarily through vibrant photographs that captured his inventive costumes, transformed trash, and public confrontations.

The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s photographs by Greg Day is curated by David J. Getsy, Goldabelle McComb Finn Distinguished Professor of Art History at the  School of the Art Institute of Chicago. The Gutter Art of Stephen Varble is organised by the ONE Archives Foundation, Inc. Generous support is provided by the City of West Hollywood.

About the ONE Archives Foundation, Inc.

The ONE Archives Foundation, Inc. is an independent 501(c)(3) dedicated to telling the accurate and authentic stories of LGBTQ people, history and culture through public exhibitions, educational projects and trainings, and community outreach programs. Our exhibitions, school programs, and community outreach programs are free. We depend entirely on members of the public and private foundations for support.

Press release from the ONE Gallery [Online] Cited 10/04/2019

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing, at left, a still from Stephen Varble’s video Journey to the Sun (1978-1983); and at right Greg Day’s Stephen Varble in the Piggy Bank Dress (1975)

 

Stephen Varble (American, 1946-1984)
Journey to the Sun
1978-1983
U-matic video transferred to digital, 2018
Courtesy David J. Getsy

 

 

Varble receded from the art world and from street performance around 1977, becoming ever-more critical of commodification and capitalism. As he told an interviewer that year, “This is the age of pornography and contempt. The dollar is good. […] The end of capitalism is coming.” Varble instead began to develop private performances and videos about his private mythologies and messianic dreams. His last five years were consumed with working on an epic, operatic work of video art: Journey to the Sun. It started in 1978 as a performance about the mythology of Greta Garbo, and Varble invited friends to his Riverside Drive apartment to view his monologues accompanied by project slides. His ambitions soon outgrew this format, and he turned to video for its ability to combine text, image and performance. He considered these videos to be revivals of illuminated Medieval manuscripts with their rich visual play between words and pictures, and he called his group of collaborators in the video the “Happy Arts School of Manuscript Illumination.” The aim of the “school” was to promote Varble’s vision of societal transformation through the making of modern fables in the form of videos, books, and prints. His “video books,” as he called the tapes, offered an “antidote to nature’s ruin on this heavenly globe.”

Journey to the Sun tells the story of a musician, the Grey Crowned Warbler, who undergoes tribulation and metamorphosis on a journey to transcendence. The tale is a loosely autobiographical fable of an artist who encounters a stern mystical teacher, Sage Purple Pythagoras (played by his partner, Daniel Cahill) who tests the Warbler. Many of Varble’s iconic costumes feature in the video, and he combined elements of his own history with references to literature, religion, and popular culture (notably, Garbo). Combining heavily scripted monologues with improvised performances. Journey to the Sun does not offer a tidy or easily understood narrative. Rather, it sketches a fantastic and surreal visual world in which dreams are realised through the transformations of everyday objects, popular imagery, and rubbish.

To make this “rodeo-paced” video, Varble filled his apartment with drawings and writings on the walls, blacked out the windows, and began filming scenes both scripted and improvised with collaborators. Journey to the Sun is remarkable for its time due to the complexity and density of the video editing – all of which was done by Varble in his apartment. He only completed about thirty percent of his planned work before his death from AIDS-related complications in January 1984. This screening copy presents a continuous segment of around 80 minutes that has been selected from the three surviving U-matic master tapes, but no changes have been made other than the choice of where to begin and end this combined excerpt. This is but a fragment of the much longer video epic Varble hoped would be his major contribution.

Wall text from the exhibition

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing Stephen Varble’s Blue Boy

 

 

“One afternoon, Stephen invited me to accompany him to a performance in midtown Manhattan. He bought Blue Boy with him. We took the F train uptown from Washington Square. Sitting on the subway car bench and wearing his Chemical Bank Protest attire. Stephen hugged, kissed, fondled and poked Blue Boy. He spoke to him in an affectionate and sometimes argumentative language of moans, “ohs” and clicks. I sat across from him and watched as people entered the car. They stared, laughed, gasped, and made disparaging remarks about his sanity before moving to another part of the subway car. Even riding the train was an opportunity for Stephen to shock.”

Greg Day
Wall text from the exhibition

 

Gutter Art: Stephen Varble and Genderqueer Performance on the Streets of 1970s New York with David J. Getsy from Leslie-Lohman Museum on Vimeo.

 

Gutter Art: Stephen Varble and Genderqueer Performance on the Streets of 1970s New York with David J. Getsy

 

Greg Day. 'Stephen Varble at the 12th Annual Avant-Garde Festival' 1975

 

Greg Day (American, b. 1944)
Stephen Varble at the 12th Annual Avant-Garde Festival
1975
Digital print
© Greg Day 2019

 

 

ONE Gallery, West Hollywood
626 N. Robertson Boulevard
West Hollywood, CA 90069

Opening hours:
Thursday – Sunday: 11.00 am – 2.00 pm and 3.00 pm – 6.00 pm
Closed Monday – Wednesday

ONE Archives website

ONE Gallery, West Hollywood website

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07
Feb
11

Exhibition: ‘Mark Morrisroe’ at Fotomuseum Winterthur, Zurich

Exhibition dates: 27th November 2010 – 13th February 2011

 

 

Mark Morrisroe (American, 1959-1989)
Untitled [Self-Portrait]
1979
T-108 Polaroid
8.5 x 10.7 cm
Sammlung Matthew Marks
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

 

This is an emotional posting for me. I came out as a gay man in 1975, six short years after the Stonewall Riots in New York City that were the touchstone of the gay liberation movement. I partied hard in my youth in London and didn’t have my first HIV test until 1982/3. We just didn’t know about the disease at all. Those two weeks waiting for the result of that first test, for that is how long it took to get the test results back in those days, seemed terribly long. Even worse was the time spent sitting outside the doctor’s office waiting to be called in to get the test results – literally life and death as there was no treatment, no drugs to help, no hope.

I lost many friends over the years to this terrible disease that continues to decimate human beings all around the world. It was only by pure luck that I survived. This posting shows the work of one artist who didn’t survive. He as experimenting with his sexuality (and documenting it) in Boston at much the same time that I was in London and so I feel an affinity with this beautiful and gifted man. What great images he made! How much poorer is the world without his presence and indeed the presence of all human beings who have succumbed to the disease.

Marcus

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Many thankx to the Fotomuseum Winterthur, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Mark Morrisroe. '
After the Laone (In the Home of a London Rubber Fetishist, Dec 82)' 1982

 

Mark Morrisroe (American, 1959-1989)
After the Laone (In the Home of a London Rubber Fetishist, Dec 82)
1982
C-Print von Sandwich-Negativ, bearbeitet mit Retuschefarben und Marker
39.5 x 50.6 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe. '
Blow Both of Us, Gail Thacker and Me, Summer 1978' 1986

 

Mark Morrisroe (American, 1959-1989)
Blow Both of Us, Gail Thacker and Me, Summer 1978
1986
C-Print, bearbeitet mit Marker
40.5 x 40.5 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe. '
La Môme Piaf [Pat and Thierry]' 1982

 

Mark Morrisroe (American, 1959-1989)
La Môme Piaf [Pat and Thierry]
1982
C-Print von Sandwich-Negativ, bearbeitet mit Retuschefarben und Marker
50.7 x 40.5 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe
. 'Pat as Kiki, fall 81 Paris' 1985

 

Mark Morrisroe (American, 1959-1989)
Pat as Kiki, fall 81 Paris
1985
Silbergelatine-Abzug von T-665 Polaroid Negativ, bearbeitet mit Retuschefarbe
25.2 x 20.2 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

 

More than twenty years after Mark Morrisroe’s early death, Fotomuseum Winterthur is presenting the first comprehensive survey exhibition on his work – an extraordinarily diverse body of works that has usually been shown in group shows, mostly in connection with his famous Boston colleagues Nan Goldin and David Armstrong. The exhibition, curated by Beatrix Ruf and Thomas Seelig, is a collaboration between Fotomuseum Winterthur and the Estate of Mark Morrisroe (Ringier Collection).

In the Boston of the early 1980s, Mark Morrisroe was a well-known, charismatic figure, who often appeared in drag together with the artist friends he had met while studying and who performed in bars and clubs with Stephen Tashjian (alias Tabboo!) as the “Clam Twins.” As an artist and photographer he was also at the center of the lively Boston punk scene, whose most important protagonists were known well beyond the city. Like Nan Goldin and David Armstrong before him, Mark Morrisroe moved to New York in the mid-1980s to try his luck there. He died – far too early – in July 1989, at the age of just 30, from the consequences of AIDS.

References to Morrisroe’s origins and past are surrounded by a dense mist that makes it impossible to differentiate between truth and fantasy. By continually inventing and varying scenarios about himself, the settings for which extended from the past to the future, Morrisroe always understood how to collaborate actively in shaping his own myth, feeding it with fanciful layers of lies, or indeed letting it float into the void. His public presence could be engaging, and sometimes loud and disturbing, too, but silence fell after his death – both around the artist and his photography.

In retrospect, Morrisroe’s art studies in Boston and his years in the punk and art world of that city can in fact be seen as his most content and productive period. There he discovered a positive approach to his sexuality, and in the person of Jonathan “Jack” Pierson, who appears in many of his photographs and Polaroids, found his first great love. The first intimate portraits of close friends such as Lynelle White (with whom he published five editions of the collaged, photocopied and colored-in Dirt fanzine in 1975–76) were produced there, as were many of his first narcissistic self-scenarios in front of the camera. There Morrisroe shot the low-budget trash film Nymph-O-Maniac in the style of his idol John Waters, with Pia Howard as the main performer.

Mark Morrisroe’s short creative period, of barely ten years, was characterized by an amazing output of photographic experiments, and stands out for its constantly searching, inquisitive, and always individual aesthetic, as a glance at the photographer’s extensive estate reveals. The estate was acquired by the Ringier Collection in 2004 and was placed in the care of the Fotomuseum Winterthur in 2006. The estate comprises around 600 color prints – a few of them duplicates – approximately as many gelatin silver prints, about 800 of the 2,000 known Polaroid shots by Morrisroe, all the negatives, contact prints, and some of his personal papers, giving some idea of the unbridled enjoyment and energy with which Mark Morrisroe threw himself into his life and work.

The exhibition will feature early color and black-and-white prints, Polaroids, and Polaroid negatives from which it was possible to make enlargements, as well as the early and late photograms he processed by hand. During his art studies at the School of the Museum of Fine Arts Boston (1978–1982) Morrisroe was already experimenting with various interpretations of reprography, trying to understand the possibilities of the medium and its inherent limitations, and using different ingenious printing processes for his photographic prints. Within his close circle of friends he soon laid claim to the “invention” of what are called “sandwich” prints – enlargements of double negatives of the same subject mounted on top of one another – which yielded an elaborate pictorial quality, producing a very iconic impression in the final result, which over time Morrisroe learned to use in an increasingly controlled way. Early on, the artist recognized the intrinsic value of prints – irrespective of the medium used to produce them – as pictorial objects that he could manipulate, color, paint, and write on at will.

By all accounts, Mark Morrisroe was a man driven to achieve fame and recognition. Restless and demanding – of himself as well as of others – he always wanted more, and from this inner restlessness he derived enormous resources of artistic energy. Right to the very end, his life and work, down to the photograms feverishly produced in the makeshift darkroom in his hospital, which have hardly ever been publicly shown until today, attest to an unlimited and ecstatic search for a sensual, aesthetic, and always ambivalently charged pictorial world.

The Estate of Mark Morrisroe (Collection Ringier) at the Fotomuseum Winterthur

 

Following Pat Hearn’s untimely death in 2000, there was a break in exhibition activities focusing on Mark Morrisroe. From 1998 the Ringier Collection had been continuously in contact with Pat Hearn about Mark Morrisroe’s work and they continued the discussion with Pat Hearn’s husband, Colin de Land of American Fine Arts, who had inherited the Mark Morrisroe estate. In 2002 Colin de Land approached Michael Ringier and Beatrix Ruf to discuss options for the future of the Morrisroe estate because he had also fallen ill and was very aware that he was going to die soon himself. In their conversations, the main concern was how responsibility for this important artist could be taken on by keeping the oeuvre together as a comprehensive group of works and making it accessible to a broad audience internationally as well. The Ringier Collection proposed to Colin de Land that they secure the estate by acquiring it and placing it in the Fotomuseum Winterthur. Furthermore, the decision was made to form a foundation for the Morrisroe estate, which would be the home to a comprehensive group of works and would keep the estate together, provide conversational and curatorial continuity, and act as the leading force in communicating and distributing the work through exhibitions and publications.”

Press release from Fotomuseum Winterthur website

 

Mark Morrisroe. '
Self-Portrait (to Brent)' 1982


 

Mark Morrisroe (American, 1959-1989)
Self-Portrait (to Brent)
1982
C-Print von Sandwich-Negativ, bearbeitet mit Retuschefarben und Marker
50.5 x 40.5 cm
Privatsammlung Brent Sikkema
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

 

Mark Morrisroe (American, 1959-1989)
Untitled [Lynelle]
ca. 1985
T-665 Polaroid
10.7 x 8.5 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe
. 'Untitled [Self-Portrait with Jonathan]' c. 1978

 

Mark Morrisroe (American, 1959-1989)
Untitled [Self-Portrait with Jonathan]
c. 1978
T-665 Polaroid
10.7 x 8.5 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe.
 'Untitled [Self-Portrait]' 1986


 

Mark Morrisroe (American, 1959-1989)
Untitled [Self-Portrait]
1986
Silbergelatine-Abzug
42.5 x 29.8 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe. '
Untitled' 1987

 

Mark Morrisroe (American, 1959-1989)
Untitled
1987
Silbergelatine-Abzug, Fotogramm von Drucksache
50.4 x 40.3 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

Mark Morrisroe. '
Untitled' c. 1988

.

Mark Morrisroe (American, 1959-1989)
Untitled
c. 1988
C-Print von Sandwich-Negativ
50.7 x 40.5 cm
© Nachlass Mark Morrisroe (Sammlung Ringier) im Fotomuseum Winterthur

 

 

Fotomuseum Winterthur
Grüzenstrasse 44 + 45
CH-8400 Winterthur (Zurich)

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday 11 am to 8 pm
Closed on Mondays

Fotomuseum Winterthur website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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