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Marianne Boesky Gallery is pleased to announce John Waters's new exhibition of thirty-six photographs and four sculptures, entitled Rear Projection. "Rear Projection" is also a movie term for the process in which a foreground action is combined with a background action filmed earlier to give the impression the actors are in the location for the background scene when they are, in fact, filmed inside a studio. In John Waters's latest works, this artificial and outdated visual effect is embraced, attacked and taken to extremes. Glorifying the struggle, the humiliation and the wild excitement of … (read more)

Marianne Boesky Gallery is pleased to announce John Waters's new exhibition of thirty-six photographs and four sculptures, entitled Rear Projection. "Rear Projection" is also a movie term for the process in which a foreground action is combined with a background action filmed earlier to give the impression the actors are in the location for the background scene when they are, in fact, filmed inside a studio. In John Waters's latest works, this artificial and outdated visual effect is embraced, attacked and taken to extremes.

Glorifying the struggle, the humiliation and the wild excitement of a life in show business, Waters uses an insider's bag of film tricks and trade lingo to celebrate the excess of the movie industry. Rewriting and redirecting existing film imagery snapped off the TV screen, these one time classic, respected, even honored movies are now assaulted, elevated, subtitled and startlingly altered into a new kind of equality; a cult film that only needs one viewer – John Waters himself. Child stars are given bad habits, innocent movies are perverted by editing out just a few frames, even traditionally beautiful movie stars are glamorously deformed by suspiciously over-budgeted charity advertising campaigns. The cult of religion and the religion of cult are the same in Waters's world. He sneaks into other movies like a spy to photograph the very details their original directors didn't notice. Waters revels in the terrible frustration of today's film business combined with the hostility outsiders feel towards the contemporary art world and hopes, with this new work, to bring into focus a fresh breed of humor, cheap (but satisfying) sexual thrills, and a shabbily elevated artistic appreciation that must always start from the rear of the line.

Courtesy of Marianne Boesky Gallery, condensed and adapted

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