A limited edition clutch from Marilyn Minter's collaboration with Edie Parker.


LIMITED RUN: Apparently when it comes to feminism at the Brooklyn Museum, you can take it with you.

As a tie-in to the “Marilyn Minter: “Pretty/Dirty” exhibition at the Brooklyn Museum, the artist has partnered with Edie Parker’s Brett Heyman for two limited-edition clutches. Both items features artwork from Minter and an interior mirror etched with Minter’s signature and the Edie Parker logo. Compact and sturdy, the handbags were configured with smartphones in mind, (including iPhone Plus models) and other evening essentials. The pearlescent acrylic styles are being sold exclusively at the Brooklyn Museum Shop and via its site.

The special-edition, Made in the U.S. styles are the Carol bag in nude pearlescent featuring Glitter Mouth by Marilyn Minter and the Jean bag in white pearlescent featuring Wet Kiss by Marilyn Minter. There is a limited-edition run of 15 of each style, which will retail for $1,295. Additional made-to-order requests will be available for $1,495 with orders closing April 9.

On view through May 7, “Marilyn Minter: Pretty/Dirty” is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum. This is its final stop in what has been a yearlong tour for the retrospective.

In what is the artist’s first retrospective, Minter’s evocative paintings, photographs and videos explore the complexities around beauty and the feminine body in American culture. The artist’s work is unabashed about questioning the fashion industry’s commercialization of sex and the body. The show features such rarely seen images as Minter’s “Coral Ridge Towers” photographs from an undergraduate assignment. The artist’s mother is pictured lounging at home and primping in front of the mirror in 1969. How women view, mask, and display themselves is a recurring theme in Minter’s work. But after Minter’s portraits of her mother disturbed her classmates, she did not show the work for more than 25 years. There are also paintings incorporating photorealism and Pop Art techniques, and later work from the Eighties and Nineties examining visual pleasure in visceral depictions of food and sex. The exhibition concludes with Minter’s ongoing investigation of how the beauty industry creates and manipulates desire through images.

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