2021-11-12 23:46:40
Феерическая рецензия Джерри Золца на выставку Джона Каррина, известного своим притягательно-безобразным стилем изображения женщин. Джерри превзошел себя просто.
«Each life-size painting depicts a trompe-l’œil architectural niche or reliquary saturated in strident light, bathed in russet color, painted in a hyper-illusionistic almost-academic old-master/Gothic patois of Cranach, Pontormo, Boucher, Mannerism, Rubens, Vargas Girls, Norman Rockwell, Andrew Wyeth, Odd Nerdrum, Botero, Mad Magazine, and bodice-ripper illustration. Keep in mind that these are not, per se, paintings of women. They are paintings of sculptures of women or forms cast in ash. This gives the work an uncanny air of something eternal, always with us, ways we ennoble, imprison, and manipulate the female figure.»
«Currin has gone all in on his despised vision. What causes the slippages in the final impact of the work and leave it imparting pathos without utter originality or creating especially memorable images that stick in the mind’s eye, is that he hasn’t accompanied this with equally radical formal invention. That’s where the problem is, where his art deliberately stands outside any discourse other than itself, forlorn, impressive, insolent, but possibly stuck in a metaphysical cul-de-sac. That is the enormous Achilles’ heel to this art that can make it impossible for his foes to accept. His paintings stand mighty but aloof, isolated, clownish, self-parodying Gothic monsters that become so inward, elaborate, cartoonish, mannered, and goading that they can go flat. They leave you an easy way out.»
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