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John Currin Artworks

American Painter

John Currin Photo

Born: 1962 - Boulder, Colorado

Artworks by John Currin

The below artworks are the most important by John Currin - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Bea Arthur Naked (1991)

Before achieving his current level of fame, Currin painted this portrait of the popular television actress as part of a series of images focusing on mature, well-to-do women. At the time, Arthur would have been in her late sixties, while he was in his late twenties. He told New York magazine in 2007, "The Bea Arthur painting is from Maude, which I used to watch as a kid. In the eighties, I didn't have TV for, like, a whole decade. When I started watching again in the nineties, The Golden Girls was in syndication. When I had a loft with Sean and Kevin Landers, we'd always take a break in the afternoon and watch The Golden Girls. When I made the painting, I was living in Hoboken and still making abstract paintings, and I was very frustrated. I was walking back from the PATH train and this vision of Bea Arthur just came to me."

With her biting wit, matronly hairstyle, and deep voice, the television comedienne is an unconventional choice for this type of portrait, which typically features a very feminine, youthful subject. Currin does not depict Arthur in a particularly erotic or sexualized manner, but instead presents a thought-provoking challenge to the viewer. By presenting the plainspoken Arthur in the nude on a flat yellow background, he interrogates the ageism associated with sexuality in much of late-20th-century popular culture, as well as long-standing artistic conventions.

Skinny Woman (1992)

Many of Currin's early works focus on older women, exemplified by the figure depicted here. Her pose and gaze recall that of a fashion model, but the artist complicates this association by giving the woman an aging body and close-cropped gray hair. The portrait merges the aesthetic of popular fashion magazines with that of early Renaissance and Mannerist paintings. The image of this woman is not taken from life, nor meant to depict any actual person. As Currin explains, "The people I paint don't exist. The only thing that is real is the painting. It's not like a photograph where there's another reality that existed in a certain moment in time in the past." Even so, the painting unsettles expectations about what physical types of women are considered suitable subjects for art (or even advertisements). The skinny woman's regal face and posture are striking and captivating, leaving the viewer to wonder about the remarkably narrow standards of beauty prized by contemporary culture.

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The Bra Shop (1997)

In this iconic work, we find two women engaged in the seemingly ordinary act of bra shopping. The redhead helps the blonde take an accurate measurement in what could be construed as an act of communal sisterhood. Yet the overblown size of their breasts hints at the pair's entrapment within a society that values individual physical endowments in warped disproportion to the whole. Their body parts are magnified as distracting objects of attention. The crude rendering of the women's faces presents an antagonistic contrast to the other elements in the painting to which we are drawn instead, participating unconsciously in the act of sexism.

Currin has remarked about this painting, "I had already received a small amount of criticism about my sexism, and I wanted to make something that I wouldn't have to worry about being termed sexist - because the image is so sexist that it's sort of beyond repair."

Honeymoon Nude (1998)

Since the late 1990s, Currin has taken inspiration from the mood and atmosphere of Flemish and Italian Renaissance paintings to explore the cliches, biases, and sexual desires hidden just beneath the surface of mainstream culture.

In this image, he leaves behind the overt pop-culture references and aesthetics, so at first glance it appears to be a much older painting than it truly is. The figure's loosely tousled hair, body, and mien bring to mind the Classical muses, nymphs, and goddesses of artists like Botticelli. In contrast, there is something about her face that is out of sync with more classical depictions of women. She looks toward the viewer expectantly, and there is a breathless, seductive quality to her expression conjuring the wanting ingenue or fragile waif immortalized by contemporary fashion models of the time such as Kate Moss. She epitomizes heterosexual male desire, an eager and beautiful thing to be taken and possessed. This awareness of being watched coupled with an apparent urge to be seen as desirable imparts the figure with a distinctly 20th-century subjectivity.

Many critics have pointed out the woman's resemblance to Currin's wife, Rachel Feinstein, who often filled the role of his model and muse. Because he painted this piece during the early days of their marriage, likely when they were still in the "honeymoon" phase of their relationship, the work may be seen as an expression of Currin's newly wedded bliss.

Nude on a Table (2001)

In his evolving depictions of the female nude, John Currin expertly mimics a number of distinct styles from art history, merging high and low source materials to produce works that succeed simultaneously as satire and homage.

The woman's face and hairstyle, as in many of his paintings, seems borrowed from contemporary magazines and advertisements. Meanwhile, the candelabra and lemons on the left side of the composition evoke Dutch still life painting. Yet, the image is most evocative of Renaissance paintings depicting the dead Christ, often shrouded in a white sheet with his head lolling lifelessly to one side. There are numerous iconic renderings of this scene, including Holbein's The Body of the Dead Christ in the Tomb (1520-22) and Annibale Carracci's Corpse of Christ (1583-1585). Currin's painting is an uncanny replica of the latter's contorted posture, viewed from the feet. One might weave a common thread between the objectification/mysticism of the body of Christ and the female nude, both of which continue to be placed on a pedestal, even in death.

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Thanksgiving (2003)

This large painting depicts three young women of similar appearance, presumably sisters. All have pale skin and fair blonde hair, piled at the back of their heads. A number of critics have pointed out that, like Honeymoon Nude (1998), these women bear a strong resemblance to Currin's wife, Rachel Feinstein, who is tall, blonde, and slender. Although the title refers to an American holiday, the clothing, furniture, and overall style of the painting are more representational of European Renaissance painting. The elaborate room is decorated with a silver-gilt mirror, Corinthian columns, and a chandelier.

The woman on the left feeds the woman in the center with a spoon; she angles her neck like a baby bird, straining for food from its mother. Meanwhile, the woman in the smock seems absorbed in a thought or task, her head bowed as she ignores the boisterous pair beside her. On the table in front of them is an assortment of objects worthy of a Dutch still life: an enormous uncooked turkey, a bunch of grapes, an onion, a white plate, and a vase of flowers (which contains both decaying and vibrant roses in the vein of nature morte). With its absence of sexual imagery, the painting is a marked departure from the paintings for which Currin is best known, though the image serves as a reminder of the constant impetus for consumption -- of both foodstuffs and luxury goods -- that pervades contemporary American culture.

Furthermore, the painting offers a somewhat creepy, unsettling spin on subject matter reminiscent of the Americana of Norman Rockwell. The raw flesh of the turkey, the dying flowers, the long, craning necks of the women, and the unusual facial expressions make the composition seem at once strange and familiar.

The Teenagers (2008)

This painting comes from Currin's most recent series, which takes inspiration from print and online pornography. He told The New Yorker in 2008, "One motive of mine is to see if I could make this clearly debased and unbeautiful thing become beautiful in a painting."

The work depicts a young couple kissing, presumably as a prelude to sex, yet manages to portray the intimate moment as completely vulgar and unappealing. Their faces smash together almost to the point of deformity, particularly in the case of the man, whose right cheek seems to be much larger and higher on his face than the left. Closer inspection of the woman's face reveals drawn-on eyebrows and heavy pearlescent eye shadow. Her girlish hairstyle seems at odds with the lines in her face; this is a woman who is trying to appear younger than she actually is. All of these features combine to suggest that these are actors portraying teenagers in an adult film an implication underscored by the tight focus of the image as if centered squarely within a screen. The pair's probing tongues wriggle outward as if intended to titillate an unseen audience rather than each other. Moreover, though the pair's eyes are closed, the woman faces the viewer as if in anticipation of an audience. The image is more lurid than beautiful, asking the viewer to ponder the complex role of pornography in constructing sexual desire, notions of beauty, and relationships between men and women.

Related Artists and Major Works

Red Haired Man on a Chair (1962)

Artist: Lucian Freud (Read Full Artist Overview, Biography, and Artworks pages)

This is one of the earliest examples of Freud's mature style. Unconventional poses were one of Freud's specialties. The subject matter is conventional, but the pose is one rarely, if ever, seen in traditional Western portraiture. The subject is Tim Behrens, a friend and student at Slade School of Art, where Freud was a visiting teacher. The work's generic title, giving no hint of the specifics of the sitter or the setting, reflects the consistent, clinical detachment with which Freud approached all subjects, no matter what their relationship to him. Red Haired Man on a Chair (1962) depicts Behrens perched with his knees tucked under him, dressed in a gray suit, and with his brown shoes resting on a chair that appears to tilt toward us. The wooden post and discarded pile of cloths behind him indicate that the environment is the painting studio. At this point in his career, Freud made a transition from sable to hog-hair brushes which allowed both greater control and an ability to apply broad strokes in the heavily impastoed style one sees here.

It is clear that Freud has reached a new level of sophistication. Witness, for example, the linear tension between the figure and the post inches away, giving the appearance that if he leans a little more to the left he might actually touch it. Witness, too, the relationship between the vertical figure and the horizontal line of rags in the background, which forms a cross. Freud was not remotely religious, and certainly not Catholic, so this is a clever reference to the pose his student was holding, which was wildly uncomfortable and underscores his student's position as a martyr for the cause of great art. The observation, more sadistic than empathetic, characterizes Freud's approach to the human form, in particular his ability to suspend empathy with the sitter in order to observe him or her more closely. It is also one of the first examples of the appearance of rags strewn about in loose piles, a common compositional device in Freud's later portraits.

Bayonne (1985)

Artist: Eric Fischl (Read Full Artist Overview, Biography, and Artworks pages)

Fischl called the separation between these two subjects a caesura, a metrical break in verse; the older woman and the young girl may be related, they may be the same person in different times, or they may have no relationship. Perhaps they share a room - notice the similar walls, floor, and lighting - but the overlapping canvases hint at an emotional hierarchy. The woman might be reflecting on the girl with envy, affection, or bemusement within her lounging posture of resignation. Note the girl's stiff posture in contrast to her ballerina costume, her inelegant foot position and forward lean; now look at the woman's graceful pose, the muscled calves and relaxed nudity. Both subjects are trapped within Fischl's framing and the limitations of their age: the woman is no longer nubile, the young girl lacks grace. Cynical portraits, perhaps, but when viewed straight on the duo become a singular piece. It's only when viewed from an angle that the break, the caesura, occurs.

Through this comparison, Fischl gives control to the viewer. Is he making us responsible for deciding how the subjects interrelate? His answer is unusually generous: all interpretations are valid, though only a few are consciously intended. Read left to right, Bayonne evokes the sorrow of memory, even as the girl seems to reject this label. With her outstretched hands and rooted pose, she pushes back, perhaps against her future self, perhaps against our projections of her yet to be realized life.

Untitled #209, "History Portrait" Series (1989)

Artist: Cindy Sherman (Read Full Artist Overview, Biography, and Artworks pages)

In this three-quarter length, Italian Renaissance-style portrait, Sherman takes on the persona of the Mona Lisa. Donning a 15th-century Italianate dress, Sherman allies herself with one of art history's most famous, iconic paintings. No true replica, the photo is meant to call to mind the original, without literally copying it, the mental distance between the real and the imitation just barely apparent, yet somehow haunting. One might say that Sherman suggests that viewers rethink their familiarity with the original and question how its conventions of depiction continue to condition the way that even we, hundreds of years later, regard every representation of the "Female."

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