Independent Curators International (ICI) produces exhibitions, events, publications, research and training opportunities for curators and diverse audiences around the world. Established in 1975 and headquartered in New York, ICI is a hub that connects emerging and established curators, artists, and art spaces, forging international networks and generating new forms of collaborations. ICI provides access to the people and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art.
Almost twenty years ago, John Waters produced his first art work, a photograph of his television screen showing a scene of his own Multiple Maniacs. Since Divine in Ecstasy (1992), Waters has captured stills from his and others’ movies straight from the TV set, pulling images out of their original context to transform them into icons. His unique way of seeing the world has inspired generations of artists, photographers, and filmmakers, and his satirical edge defines his art practice as much as his cinematic work.
While living and working in Baltimore, his art has been shown in museums and galleries all over the world, including Austria, France, Germany, Hungary, Japan, and Spain. In 1999, his first museum solo exhibition of photographs opened at the Wexner Center for the Arts, in Columbus, OH; and a 2004 retrospective, titled Change of Life, was organized by the New Museum in New York, and traveled internationally to Switzerland, and across the U.S. to The Warhol Museum, Pittsburg, PA., and The Orange County Museum of Art, Newport Beach, CA.
He is honored for his prolific, candid art practice, and the storytelling he uses to convey the messages behind his work. In addition to his art making, Waters has directed sixteen movies, including such cult classics as Pink Flamingos, Hairspray, and Cry Baby and is the author of six books, including his most recent, Role Models, which was on the bestseller list for the New York Times.
In the past five to ten years, humor has turned up with increasing frequency in contemporary art, perhaps satisfying an urgent need among artists and audiences alike to reflect upon the absurdity of daily existence.read more »