Exhibition Review - More Life: Mark Morrisroe
Mark Morrisroe, The Boy Next Door (Beautiful But Dumb), 1983
© Estate of Mark Morrisroe (Ringier Collection)
Written by: Moksha Akil
Covered in memories and a time erased, Ryan McGinley’s curation of photographs from Boston photographer Mark Morrisroe (1959-1989)—or Mark Dirt—brings to light the life of a man who made an impact while he was active in his community. Each photo in More Life: Mark Morrisroe at David Zwirner shows the emotion—the struggles—that Morrisroe’s circle felt. The viewer becomes a part of his world, and this is the essential highlight of this exhibition. Aside from his subjects, Morrisroe’s medium and technique is one to be noted. Throughout his photographs, a multitude of unconventional techniques can be seen and make his works even more distinctive. In the exhibit, there are examples of Morrisroe’s sandwich print technique as well as standard c-prints and polaroids.
In the David Zwirner Gallery on the Upper East Side, Morrisroe’s photos are a stark contrast to their location. Morrisroe’s photos hang framed on eggshell white walls with decorative molding and a spiral staircase below it connecting it to the lobby. Poles apart, Mark Morrisroe was a representative of Boston punk in the 1980s. He captured his urban surroundings, painful environment, and personal experiences. Morrisroe stood for the uniqueness of the queer community that lived through the pain of the AIDS crisis. Though he did not survive the disease, his work still tells the story of freedom and joy through hardships.
Each piece of film is a reflection of his life. Vulnerability, tentativity, and hidden pain. It’s interesting to think about the lives these subjects lived beyond their photographs, perhaps beyond their lives with Mark. Queer life in the 1980s was a time marked by pain from the AIDS crisis, and yet his photos capture life beyond it. Morrisroe’s photos give queer people today a window into a world they would never be able to connect to otherwise. They show how intimately people lived during his life and give a glimpse into his world even if it cannot be replicated now.
Mark Morrisroe, Sweet Raspberry/ Spanish Madonna, 1986
© Estate of Mark Morrisroe (Ringier Collection)
The photos that McGinley chose are raw and show how simple beautiful art can be. His motivation was to show Morrisroe’s less common works because, as he said in a statement to David Zwirner, “It’s a photographer’s job to introduce work from an older generation to a newer generation of image makers.” The punk phenomenon had a breadth of talent and the photographs McGinley chose reflect this. McGinley also had a connection with Morrisroe through AIDS—McGinley’s brother passed away due to the disease around the same time as Morrisroe. But the connection stemmed beyond that. “I identify with Mark’s story: a radical queer hustler, addict in a torn T-shirt, who photographed his close friends and lovers with an artistic vision,” McGinley ended in his statement.
A blurry photo of Morrisroe and a friend entitled Gail Thacker and Me (Blow Both of Us), 1985 depict their unbridled happiness in that moment, and though it could be seen as the 1980s version of a selfie and too simple, it is the simpleness that creates the art. Morrisroe’s simplicity in some of his works make it so his audience can see into his world more easily. This is the rawness.
Morrisroe’s photos feel genuine to the viewer. Another photograph, Hello from Bertha (promo still), 1983, depicts three people, each with makeup on and looking at the camera. The composition of the photo not only shows Morrisroe’s skill, but his ability to capture emotion. The 12 1/2 x 18 1/2 inch print has a sepia tint and gives the feeling of age—the viewer understands that this work is from another time, a time forgotten perhaps. Morrisroe’s photo, again, gives the viewer a quick glimpse into how he lived and how people from his circle in general lived. The punk scene in 1980s Boston was incredibly documented by Morrisroe and his 2,000 or so works, and this photo is an integral part of this documentation.
Ryan McGinley’s curation of photos by Mark Morrisroe is a special look inside the life of an often forgotten artist who struggled during his active years. However, even though he struggled throughout his life, Morrisroe’s photos showcase the community that made his life special, meaningful. Morrisroe’s use of Super 8 films and his unique way of dealing with negatives illustrate exactly how artistic he was. McGinley’s choice to highlight these photos by Morrisroe gives the world an opportunity to see life through Morrisroe’s eyes—a life that cannot be replicated.
