A pioneer of queer punk: This is the last weekend to see the late photographer Mark Morrisroe's show in New York City, is curated by Ryan McGinley.
, a queer punk artist whose photography was seminal, influencing two generations of photographers , but whose name more widely is more or less forgotten.,” a program of exhibitions this year across David Zwirner’s networks of galleries that celebrate LGBTQ+ artists lost to AIDS, marking the fortieth anniversary of the discovery of the virus.
Morrisroe’s biography was, and remains, largely mysterious: he was a punk who told people his father had been the Boston Strangler; he was a hustler and disabled from an early age, walking with a limp, the story being that a john had shot him in the back when he was tricking.
. “Artists all reinvent themselves through their art,” McGinley says, “but Mark had many characters.”The photographs in this show range from 15 inch square C-prints to polaroids to photogravures, the most interesting pictures reflect an innovative technique Morrisroe called Sandwich Printing. “Jack [Pierson] once explained it to me,” McGinley says. “Mark would photograph in color...print [a picture] in the dark room, then re-photograph it in black-and-white.
Perhaps most important to McGinley was choosing the pictures that would resonate with young people today. He described a lineage of artists that began with Warhol and continued with John Waters, the Boston School, and McGinley himself, and now with young photographers like Awol Erizku, Clifford Price King, and Tyrell Hampton.
Leaving the show, it struck me that had Morrisroe had been born 30 years later, he would probably not have been hustling to survive, that he probably would have survived. I imagined that, if Morrisroe were my age, his circle of artists would have been celebrated as bright young things upon their arrival in New York, with solo shows at
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