ガゴシアン・ギャラリーのインスタグラム(gagosian) - 5月5日 23時49分

“This is the one that I made the painting from. I had done some goofier versions of it, but it wasn’t until I did a much more subdued, almost trite drawing like this that I saw how a drawing of a nutty idea could turn into a painting. It is actually a very good example of how an idea totally changes going from drawing to painting. One of the things I was thinking about was genre painting—about [François] Boucher and how everybody looks the same, like a separate race of people. And so I just thought, ‘Ok, in this one their attributes are these big breasts.’ Another thing about genre painting is how it plays around with what the subject of the painting is. It’s like the [Jean-Baptiste-Siméon] Chardin painting of the boy staring at the spinning top. It’s not a painting of a boy and it’s not a painting of a spinning top. You are seeing someone who is also kind of obsessing visually, so there’s a kind of hall of mirrors effect. That, paired up the idea that big breasts are something that you stare at.”—John Currin.
The smooth, eerie sensuality of John Currin’s paintings creates a flawlessly crafted surface that can be frustratingly hard to get beneath. But that’s not the case at the exhibit of the artist’s never-before-shown drawings at Frieze, which offers over one hundred candid glimpses into the artist’s mind and method, from the playful to the baroque to the surreal. Click on the link in the bio to read Angela Brown's text on NOW.
#JohnCurrin #latestinNOW #GagosianatFriezeNY #FriezeNY #FriezeArtFair @FriezeArtFair
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Image: John Currin, "Untitled," 1997, ink on paper, 14 1/4 × 11 1/4 inches (36.2 × 28.6 cm) © John Currin

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