John Currin

The one thing I can do is make a fairly convincing fantasy of happiness. It doesn’t mean that I’m happy or the painting isn’t creepy, but good melancholy comes from a thwarted joy, which is another way to describe parenthood, or marriage, or being alive. —John Currin John Currin uses classical painterly techniques to portray highly charged social and sexual taboos. With inspirations as diverse as Old Master portraits, pinups, pornography, and B movies, he paints ideational, challengingly perverse images of women, from lusty nymphs to dour matrons. Consistent throughout his work is the search for the point at which the beautiful and the grotesque are held in perfect balance. As an undergraduate student at Carnegie Mellon University in the early 1980s, Currin painted abstract works in the style of Willem de Kooning, seeking to evoke the nude through visceral, expressive brushstrokes. By the time he went on to pursue his MFA at Yale University, he saw a “forced masculinity” in these early works and realized that they were an “attempt to be a tortured artist.” Reacting against this, he began to explore themes of innocence, humor, and sexuality—creating images of stylized horses, girls with feathered hair, large-headed caricatures, and realistic portraits of individuals and couples. In the early 2000s he went on to produce a series of paintings that combine hard-core pornography with traditional still-life elements, depicting explicit sex acts taking place in decorative interiors. In 2011–12 Currin’s paintings were shown alongside masterpieces by the Dutch Golden Age painter Cornelis van Haarlem at the Frans Hals Museum in the Netherlands, revealing the historical links between the artists’ treatment of flesh, surface texture, light, and shadow. In the early 2010s Currin worked primarily on depictions of lone female nudes—rather than couples or threesomes—both in lounging, evocative poses and in classical portrait compositions. His wife, the artist Rachel Feinstein, served as Currin’s model for many of these works. Her distinctive classical features continue to make their way into his more recent paintings, in which he subtly distorts the face and body through mannerist elongations and other anatomical exaggerations. Recently Currin has made the pornographic content of his paintings less explicit, relegating glimpses of sex scenes to the background, or implying eroticism through food or other symbols. While some paintings show blank smiling faces reminiscent of those in department store catalogues, others feature elderly couples seemingly unaware of the random objects perched on their heads. The lighthearted thinking and compositional planning behind these works was revealed in 2017 when Gagosian presented Currin’s drawings at Frieze New York. The career-spanning selection of works exposed the complex networks of historical and pop cultural references, as well as the simple jokes, that come together seamlessly in the artist’s expertly rendered paintings.