“A 22-year-old man confronts the camera from a rusted-out shower stall, wearing only spiked hair, acne scars, and an expression that snarls, “What do you want?” Beckoning and hostile, the vibe is Manet’s Olympia meets Sid Vicious. This is a self-portrait of Mark Morrisroe, a queer punk artist whose photography was seminal, influencing two generations of photographers (so far), but whose name more widely is more or less forgotten.”
/ Mark Guiducci describing “Untitled (self-portrait standing in the shower), 1981” in “Mark Morrisroe, A Pioneer of Queer Punk, Re-Emerges“ in Vogue magazine, 2021 /
“Mark Morrisroe was an outlaw on every front - sexually, socially, and artistically. He was marked by his dramatic and violent adolescence as a teenage prostitute with a deep distrust and a fierce sense of his uniqueness. I met him in Art School in 1977; he left shit in my mailbox as a gesture of friendship. Limping wildly down the halls in his torn t-shirts, calling himself Mark Dirt, he was Boston’s first punk. He developed into a photographer with a completely distinctive artistic vision and signature. Both his pictures of his lovers, close friends, and objects of desire, and his touching still-lifes of rooms, dead flowers, and dream images stand as timeless fragments of his life, resonating with sexual longing, loneliness, and loss.”
The great Nan Goldin reminiscing about her friend and peer, doomed queer performance artist, photographer, troublemaker and punk provocateur Mark Morrisroe (10 January 1959 – 24 July 1989) who was born 65 years ago today. I first read about Morrisroe’s vivid, wrenching art and brief, turbulent life via Dennis Cooper's blog years ago. Pictured: Untitled, circa 1988.
New York’s hottest museum is…well, we’re biased. 🤭
In 2023, this cultural hub has everything: contemporary artists reflecting on the complex and continuing legacy of the Great Migration; a landmark exhibition celebrating the creativity, ingenuity, and global impact of contemporary African fashions; a multidecade survey of visually captivating, experimental work by María Magdalena Campos-Pons; and the first major exhibition of zines by artists working in North America, bringing attention to this unexamined but vibrant aesthetic practice.
Not to mention bold, new displays of artwork and objects from our collection.