Date: 01/09/2015 - 01/14/2015

Time: All Day

Price: Free

For 50 years, John Waters has provoked the idiosyncrasies and hilarities of the movie business – the childhood stars, the trade lingo, and the false depiction of the ugly and the heroic. His photographic work (since 1995) has taken on politically charged topics of “cinematic correctness,” religious lunacy, and media manipulation. A recurring theme of Waters’ oeuvre is the appropriation of images from other directors’ films then rendered into storyboards that change the meaning of the first celluloid frames. Within these “little movies,” as Waters calls them, the artist redirects and highlights the damaged narrative that the public often overlooks. More personal and self-critical, this new body of work seeks resolution to a set of questions about Waters’ own experiences, or as he describes them: his childhood fame issues, his fear of false glamour and nouveau-riche comfort, his ongoing sexual attractions, and the possible horror and risk of a “careericide” with dignity. In Self Portrait #5, Waters portrays himself as a despised dogcatcher, nostalgically yearning for the days he was hated by the “moral” guardians. In Beverly Hills John, he imagines himself with a plastic surgery makeover, lip and cheek augmentation, Botox, and an alarming hair transplant. Hysterically poking fun at his own vulnerability in these images, Waters also sincerely asks whether his reinvention invites self-parody. Regarding these depictions, he writes, “Since I haven’t made a film in ten years, must I give my entire life’s work a facelift? Now that celebrity is the only obscenity left in the art world, where do I fit in?”

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