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Gagosian Quarterly

February 19, 2015

In Conversation

John Currin

The artist speaks with Derek Blasberg on Los Angeles, Kippenberger, and his newest body of work.

John Currin, Chateau Meyney, 2013, oil on canvas, 42 × 34 inches (106.7 × 86.4 cm)

John Currin, Chateau Meyney, 2013, oil on canvas, 42 × 34 inches (106.7 × 86.4 cm)

Derek Blasberg

Derek Blasberg is a writer, editor, and New York Times best-selling author. In addition to being the Executive Editor of Gagosian Quarterly, he is the Head of Fashion and Beauty for YouTube. He has been with Gagosian since 2014.

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Derek BlasbergYou just opened an exhibition of new paintings in Beverly Hills, which I think is an interesting setting because, in addition to the presence of the film industry, there is a pinup culture in LA, which seems to have had an influence on your work.

John CurrinYes, movie imagery has had a pervasive visual influence on my work. There is a painting of a reclining nude in the show, which of course is a traditional subject for figurative painting, but we nicknamed this work “Billboard,” because the figure seems to command the presence of demanding a billboard all to herself. What is the name of that woman in LA who used to buy herself billboards to get work as an actress?

DBAngelyne! She’s a legend in LA, and she still drives around in a hot pink Corvette.

JCWell, I must have seen one of her billboards once when I was a kid and it stuck with me. The dimensions of my painting relate proportionally to the billboard format and there is subdued color, which gives the work a classical feel, but I then mixed in lace collars, garter belts, and sort of cheap-o touches within it, to push it towards something more tawdry. As it emerged, the painting took a turn away from pinks and toward grays, blacks, browns, and reds. I consciously thought about LA with that piece. The thing with LA is that it makes me think there’s no reason not to make pretty paintings. But the older I get, the more I realize that when you consciously decide to make a pretty painting, that is when you lose a bit of control. If you try to moderate the emotional persona in a portrait, you actually lose control of it. In a way, that’s like LA too.

DBLet’s talk about your process. How does a work take shape? Do you picture a figure or a face or a composition?

JCThere isn’t a traditional formula. A lot of times something good happens that makes me realize other things should have happened first. Almost like I built the top floor before the foundation. I have a few formulas that work consistently for me. For example, if I want to make flesh, I have a cold version and a warm version that I know how to make.

John Currin

John Currin, Maenads, 2015, oil on canvas, 48 × 36 inches (121.9 × 91.4 cm)

DBAre you inspired by traditional drawing? What role does it play in your process?

JCTo be honest, I’ve never much liked to draw. Or at least I don’t think I draw in a particularly fluid way. And perhaps it is simply that I would always just prefer to paint. Of course drawing is a very necessary element in a good painting, often it’s even a blueprint for what you’re going to do. But I’ve always been more interested in paint.

DBBut even in your personal history, it took you some time to be comfortable as a figurative painter, to accept yourself as that. In fact, at the lecture you gave at the Getty Center last year, you made a funny joke about how faking Francis Bacon paintings got you into art school.

JCHa! Actually, my progression was fake Bacon, fake Salle, fake de Kooning, fake Kippenberger, and finally fake Schnabel. Then I was out of school and I had to think of something else.

John Currin

John Currin, Lemons and Lace, 2015, oil on canvas, 36 × 68 inches (91.4 × 172.7 cm)

DBWas that because figurative painting wasn’t considered cool?

JCPartly. But also, like anyone else, I was young. I looked up to the glamour of the New York school, and all the people that I ripped off. I can remember seeing a Kippenberger show pretty early on in the ’80s, which was amazing. And I thought, “I want to do stuff like that.” Only later did I have to admit it’s not really in me to do that. When you’re twenty, though, you’re a chameleon and you’re still figuring out what you want to do. Even today, if you wanted to be a young figurative painter you may be discouraged because there’s some other new movement that seems more compelling.

DBYour influences and sources can be quite varied: Sears catalogs, pinups, pornography, Norman Rockwell paintings, covers of old fashion magazines. Somehow, it all seems very American too.

 JCThere’s not really much of a critique of American culture in my work. At least not in a systematic way.

Artwork © John Currin

John Currin, The Shaving Man, 1993.

Mansplaining: Figuring Masculinity in the Age of #MeToo

In light of recent developments around the definition of masculinity in American culture, Alison M. Gingeras, the curator of John Currin: My Life as a Man at Dallas Contemporary looks closely at the artist’s depictions of male subjects.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Drawing is a First Date

Drawing is a First Date

John Currin speaks with Brett Littman about drawing.

John Currin: On Drawing

John Currin: On Drawing

John Currin on the relationship between his drawing and painting practices.

Albert Oehlen, Untitled, 2019, watercolor on canvas, 83 ⅞ × 72 ⅛ inches (213 × 183 cm).

Albert Oehlen: Maximum Chance Maximum Control

The artist met with art historian Christian Malycha to discuss his newest paintings.

Cover of the Winter 2019 Gagosian Quarterly, featuring a selection from a black-and-white Christopher Wool photograph

Now available
Gagosian Quarterly Winter 2019

The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.

Rachel Feinstein in her West 15th Street studio, New York, 2002.

Rachel Feinstein

The artist discusses her life and work with Alan Yentob.

A black-and-white photograph of a woman's face by Dora Maar.

Discovering Dora Maar

Brigitte Benkemoun’s book Je suis le carnet de Dora Maar takes a novel approach to the art of biography. For the Quarterly, Benkemoun recounts her discovery of a mysterious Hermès address book, the subsequent realization of its genius former owner, and her journey to learn more about the life, friends, and art of Dora Maar.

Artist Nam June Paik writing on his typewriter in black and white photo.

Reading Nam June Paik

Earlier this year, MIT Press released We Are in Open Circuits: Writings by Nam June Paik. Here Gregory Zinman, coeditor of the book along with John Hanhardt and Edith Decker-Phillips, writes about his first exposure to the artist’s archives, the discoveries made there, and the relationship between Paik’s writings and his larger practice.

Piero di Cosimo, The Discovery of Honey by Bacchus, c. 1499, oil on panel, 31 ½ × 50 ⅝ inches (80 × 128.5 cm). A horizontal painting depicting a large a crowd of satyrs around a tree.

There’s Honey in the Hollows: Piero di Cosimo’s Form-of-Life

Daniel Spaulding, prompted by an encounter with Piero di Cosimo’s Discovery of Honey by Bacchus (c. 1499), investigates the potential philosophical and political power embedded within the figure of the satyr.

Jerry Schatzberg, Self Portrait in the Mirror, Trinidad, 1964.

The Center of the Storm

Carlos Valladares writes on filmmaker and photographer Jerry Schatzberg’s prolific career.

Helen Frankenthaler, Riverhead, 1963 (detail).

Frankenthaler

On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.