保罗·麦卡锡 Paul McCarthy.保罗·麦卡锡 Paul McCarthy.保罗·麦卡锡 Paul McCarthy.
发起人：嘿乐乐 回复数：49
浏览数：16179
最后更新：2010/12/07 14:11:04 by ARTzhenzhen
保罗·麦卡锡
Paul McCarthy
[attachment=32874]
保罗·麦卡锡 (Paul McCarthy)1945年生于美国盐湖城，县在洛杉矶生活工作。
保罗·麦卡锡说：“我对电影与电视十分着迷，但我从不想从事它们，我的兴趣是对他们进行滑稽的模仿。”
自20世纪60年代以来，保罗·麦卡锡尝试了多种媒体的创作，行动绘画、行为艺术、装置等等，最引人注意的是他对影视中的人物的滑稽模仿。他的作品就像是一出又一出舞台剧，夸张的舞台动作、奇怪的人与动物的混合形象以及带着大面具的木偶都给人留下了深刻的印象。她的行为艺术常常带有色情的因素，社会禁忌被他毫不掩饰地搬上舞台，生与死、性爱、鸡奸、手淫等等都出现在他的作品中。通过大众媒体和社会体系塑造个性化的行为是保罗·麦卡锡作品的核心。在他看来，身体语言是人接受社会影响的集中体现。保罗·麦卡锡并不关注主流媒体的形象，他模仿的是那些非主流的大众媒体形象，他们多出现在迪斯尼动画、B级电影、肥皂剧和电视中的搞笑节目中。他频繁地使用番茄酱和蛋黄酱替代人体中的液体，意在表明美国人个体间的疏远。
保罗·麦卡锡曾参加1997年法国里昂双年展，和惠特尼双年展。
Paul McCarthy
[attachment=32874]
保罗·麦卡锡 (Paul McCarthy)1945年生于美国盐湖城，县在洛杉矶生活工作。
保罗·麦卡锡说：“我对电影与电视十分着迷，但我从不想从事它们，我的兴趣是对他们进行滑稽的模仿。”
自20世纪60年代以来，保罗·麦卡锡尝试了多种媒体的创作，行动绘画、行为艺术、装置等等，最引人注意的是他对影视中的人物的滑稽模仿。他的作品就像是一出又一出舞台剧，夸张的舞台动作、奇怪的人与动物的混合形象以及带着大面具的木偶都给人留下了深刻的印象。她的行为艺术常常带有色情的因素，社会禁忌被他毫不掩饰地搬上舞台，生与死、性爱、鸡奸、手淫等等都出现在他的作品中。通过大众媒体和社会体系塑造个性化的行为是保罗·麦卡锡作品的核心。在他看来，身体语言是人接受社会影响的集中体现。保罗·麦卡锡并不关注主流媒体的形象，他模仿的是那些非主流的大众媒体形象，他们多出现在迪斯尼动画、B级电影、肥皂剧和电视中的搞笑节目中。他频繁地使用番茄酱和蛋黄酱替代人体中的液体，意在表明美国人个体间的疏远。
保罗·麦卡锡曾参加1997年法国里昂双年展，和惠特尼双年展。
Sailor`s Meat 1975
video
[attachment=32875] [attachment=32876]
video
[attachment=32875] [attachment=32876]
Family Tyranny 1987
video
[attachment=32877] [attachment=32878]
video
[attachment=32877] [attachment=32878]
Spaghetti Man, 1993
[attachment=32879]
[attachment=32879]
Michael Jackson and Bubbles (Black), 1999
[attachment=32880]
[attachment=32880]
The Box, installation, 1999
[attachment=32881] [attachment=32882] [attachment=32883]
Paul McCarthy's installation, The Box, was an exact yet dramatically skewed replica of the artist's entire studio placed inside a giant wooden crate. Set at 90 degrees, McCarthy's studio-in-a-box was physically disorienting with every piece of furniture, video equipment, tool, paper and prop emerging from the right hand wall instead of the floor. In this sideways studio, the original floor and ceiling became walls, and the original walls became the floor and ceiling. Viewing the space through the frame of one of the studio's rectangular windows, the sculpture was transformed into a monumental 3-D painting that was 20' high and stretched 50' to the rear of the room.
The outside of The Box was made of unfinished wood while the inside contained every one of the studio's thousands of actual objects and was complete with openings that were identical in location and size to windows and doors of the actual studio. The contents of The Box were all placed in the same visually chaotic position as they were in the original studio. The nature of the box's interior--its distorted perspective, enormous length, and unbelievable clutter--charged the space with an obsessive, disconcerting quality.
[attachment=32881] [attachment=32882] [attachment=32883]
Paul McCarthy's installation, The Box, was an exact yet dramatically skewed replica of the artist's entire studio placed inside a giant wooden crate. Set at 90 degrees, McCarthy's studio-in-a-box was physically disorienting with every piece of furniture, video equipment, tool, paper and prop emerging from the right hand wall instead of the floor. In this sideways studio, the original floor and ceiling became walls, and the original walls became the floor and ceiling. Viewing the space through the frame of one of the studio's rectangular windows, the sculpture was transformed into a monumental 3-D painting that was 20' high and stretched 50' to the rear of the room.
The outside of The Box was made of unfinished wood while the inside contained every one of the studio's thousands of actual objects and was complete with openings that were identical in location and size to windows and doors of the actual studio. The contents of The Box were all placed in the same visually chaotic position as they were in the original studio. The nature of the box's interior--its distorted perspective, enormous length, and unbelievable clutter--charged the space with an obsessive, disconcerting quality.
Tomato Heads, 1994
[attachment=32884] [attachment=32885]
[attachment=32884] [attachment=32885]
Bossy Burger, 1991
Performance and videos
[attachment=32886] [attachment=32887] [attachment=32925]
Bossy Burger (1991) is one of Paul McCarthy’s more famous works and a milestone in 1990s installation art. Not only was it his first large-scale work, but also his first work for which the sets used in the original performance have been kept as a sculpture/installation. The shabby and besmeared sets, bought second-hand from the TV sitcom Family Affair, bear obvious traces of his cavorting. In the video documenting the performance McCarthy appears as an infantile buffoon, an educational host for a children’s TV show. The situation quickly gets out of hand. McCarthy is wearing a chef’s outfit, clown shoes and an Alfred E. Neuman mask. Like practically all McCarthy’s characters, he appears to be trapped in the setting – even if he himself seems unaware of this predicament. The work explicitly incorporates a critique of both the fast food culture and the role of TV as childrearer in the western world.
Performance and videos
[attachment=32886] [attachment=32887] [attachment=32925]
Bossy Burger (1991) is one of Paul McCarthy’s more famous works and a milestone in 1990s installation art. Not only was it his first large-scale work, but also his first work for which the sets used in the original performance have been kept as a sculpture/installation. The shabby and besmeared sets, bought second-hand from the TV sitcom Family Affair, bear obvious traces of his cavorting. In the video documenting the performance McCarthy appears as an infantile buffoon, an educational host for a children’s TV show. The situation quickly gets out of hand. McCarthy is wearing a chef’s outfit, clown shoes and an Alfred E. Neuman mask. Like practically all McCarthy’s characters, he appears to be trapped in the setting – even if he himself seems unaware of this predicament. The work explicitly incorporates a critique of both the fast food culture and the role of TV as childrearer in the western world.
hot dog
[attachment=32888] [attachment=32889] [attachment=32890]
The performance and video work of Paul McCarthy simulates acts of self mutilation, defecation, vomiting, and suffocation. In his performances Meatcake, Hot Dog, and Hand Ketchup Sauce, McCarthy eats copious amounts of meat and condiments. He spreads the mayonnaise, ketchup, mustard, and sausages all over his body and the performance area. His work is distinguished from Vienna Aktionismus to the extent that he does not use blood but merely ketchup. He is not struggling against social repression or modernism, but rather against American consumerism and its reflection in fast food. In some performances, like Bossy Burger, a cook takes maniacal pleasure in creating a mess, reflecting the egocentrism of a chef preparing food.
[attachment=32888] [attachment=32889] [attachment=32890]
The performance and video work of Paul McCarthy simulates acts of self mutilation, defecation, vomiting, and suffocation. In his performances Meatcake, Hot Dog, and Hand Ketchup Sauce, McCarthy eats copious amounts of meat and condiments. He spreads the mayonnaise, ketchup, mustard, and sausages all over his body and the performance area. His work is distinguished from Vienna Aktionismus to the extent that he does not use blood but merely ketchup. He is not struggling against social repression or modernism, but rather against American consumerism and its reflection in fast food. In some performances, like Bossy Burger, a cook takes maniacal pleasure in creating a mess, reflecting the egocentrism of a chef preparing food.
Assortment, The Trunks, Human Object and PROPO
[attachment=32891]
In 1983 McCarthy stopped doing live performances in public. He stuffed the remaining the props he had used in performances in 1973 – 1983 into six trunks and closed them. These trunks became a sculpture, The Trunks (1984), which featured in several exhibitions – always with the trunks closed. In 1991, he opened them and photographed the props inside: rubber masks, ketchup bottles and mayonnaise jars, knives, toys, kitchen utensils, mutilated dolls, and so on. The photographs, Propo (1992 – 93), were then presented together Collectionwith The Trunks. On top of the trunks he placed a sculpture, Human Object (1982), his first attempt at replacing himself as a performance actor with a sculpture. Together, the pieces form a unity, a settling of accounts. Nowadays, these three works are always exhibited together. The Three Boxes (1984) is based on the same principal and consists of three boxes filled with video tapes from McCarthy’s performances. The boxes can be seen as paying homage to the minimalist cube, although McCarthy’s boxes are more common-place and have something inside – they are filled with history.
[attachment=32891]
In 1983 McCarthy stopped doing live performances in public. He stuffed the remaining the props he had used in performances in 1973 – 1983 into six trunks and closed them. These trunks became a sculpture, The Trunks (1984), which featured in several exhibitions – always with the trunks closed. In 1991, he opened them and photographed the props inside: rubber masks, ketchup bottles and mayonnaise jars, knives, toys, kitchen utensils, mutilated dolls, and so on. The photographs, Propo (1992 – 93), were then presented together Collectionwith The Trunks. On top of the trunks he placed a sculpture, Human Object (1982), his first attempt at replacing himself as a performance actor with a sculpture. Together, the pieces form a unity, a settling of accounts. Nowadays, these three works are always exhibited together. The Three Boxes (1984) is based on the same principal and consists of three boxes filled with video tapes from McCarthy’s performances. The boxes can be seen as paying homage to the minimalist cube, although McCarthy’s boxes are more common-place and have something inside – they are filled with history.
The Garden, 1992
[attachment=32892] [attachment=32893] [attachment=32894] [attachment=32895] [attachment=32896] [attachment=32897] [attachment=32898]
Like many other artists in Los Angeles, Paul McCarthy has periodically earned a living by working in the Hollywood dream factory. He often employs the same techniques and special effects as those used in the film industry. The Garden (1992), for instance, features sets from the American TV series Bonanza from the 1960s. What appears at a distance to be an idyllic forest glade, turns out on closer inspection to be an artificial representation of nature being raped by two mechanical male figures – an upright “father” and a reclining “son”.
[attachment=32892] [attachment=32893] [attachment=32894] [attachment=32895] [attachment=32896] [attachment=32897] [attachment=32898]
Like many other artists in Los Angeles, Paul McCarthy has periodically earned a living by working in the Hollywood dream factory. He often employs the same techniques and special effects as those used in the film industry. The Garden (1992), for instance, features sets from the American TV series Bonanza from the 1960s. What appears at a distance to be an idyllic forest glade, turns out on closer inspection to be an artificial representation of nature being raped by two mechanical male figures – an upright “father” and a reclining “son”.
Basement Bunker: Painted Queen Small Blue Room,
2003
Cibachrome on aluminium
[attachment=32899]
2003
Cibachrome on aluminium
[attachment=32899]
Piccadilly Circus , 2003
45 color photographs
[attachment=32900] [attachment=32901] [attachment=32902]
45 color photographs
[attachment=32900] [attachment=32901] [attachment=32902]
Crown, 2003
Aluminium, 12 fluorescent tubes, mirrors, wood
[attachment=32915]
Aluminium, 12 fluorescent tubes, mirrors, wood
[attachment=32915]
[attachment=32916]
[attachment=32913] [attachment=32914] [attachment=32912]
[attachment=32909] [attachment=32910] [attachment=32911]
Blockhead 2003 and Daddies Bighead
2003
Installation at Tate Modern,
[attachment=32917] [attachment=32918] [attachment=32919]
2003
Installation at Tate Modern,
[attachment=32917] [attachment=32918] [attachment=32919]
Mechanical Pig
[attachment=32920]
[attachment=32920]
Grand Pop, 1977
[attachment=32921]
[attachment=32921]
Performance props, including a mask of Alfred E. Newman, at the New Museum
[attachment=32922]
[attachment=32922]
Performance residue
at the New Museum
[attachment=32923]
at the New Museum
[attachment=32923]
Chocolate Silicone Blockhead
[attachment=32924]
[attachment=32924]
Apple Heads on Swiss Cheese
1997-1999
2 sculptures, fiberglass, silicone
[attachment=32926]
1997-1999
2 sculptures, fiberglass, silicone
[attachment=32926]
Sod and Sodie Sock Comp. O.S.O.
1998
installation: mixed media, military props, wood, videos
[attachment=32927]
1998
installation: mixed media, military props, wood, videos
[attachment=32927]
Silicone Michael Jackson (fucked up)
2001
steel and silicone
[attachment=32928]
2001
steel and silicone
[attachment=32928]
Assortment, The Trunks, Human Object and PROPO Photographs
1972-2003
Six trunks containing props from performances 1972 - 1984, Human Object, stool, plastic bag, wooden and steel table (132 x 120 x 48 inches); photographs (72 x 48 inches) of all the objects in the trunks
[attachment=32929]
1972-2003
Six trunks containing props from performances 1972 - 1984, Human Object, stool, plastic bag, wooden and steel table (132 x 120 x 48 inches); photographs (72 x 48 inches) of all the objects in the trunks
[attachment=32929]
Shit Face
2002
Silicone; (Black)
[attachment=32930]
2002
Silicone; (Black)
[attachment=32930]
Jack
2002
Silicone; (Dildo), wood, steel
[attachment=32931]
2002
Silicone; (Dildo), wood, steel
[attachment=32931]
Dick Eye
2002
Silicone; (Red)
[attachment=32932]
2002
Silicone; (Red)
[attachment=32932]
Pot Head
2002
Silicone; (Pink)
[attachment=32933]
2002
Silicone; (Pink)
[attachment=32933]
Gold Butter Dog 1, Guggenheim Crown
2003
Silicone
[attachment=32934]
2003
Silicone
[attachment=32934]
圣巧克力店，1997，电影镜头
[attachment=32935] [attachment=32936] [attachment=32937]
[attachment=32935] [attachment=32936] [attachment=32937]
舞女与牛仔
混合材料，装置作品“沙龙”之一景，1996
[attachment=32938]
混合材料，装置作品“沙龙”之一景，1996
[attachment=32938]
皮诺曹的家，1995
[attachment=32939]
[attachment=32939]
画家
1995，行为艺术
[attachment=32940] [attachment=32941] [attachment=32942]
1995，行为艺术
[attachment=32940] [attachment=32941] [attachment=32942]
niubi!!!!!!
Kitchen set, 2003
[attachment=32943]
[attachment=32943]
Propo Object: Hienz Ketchup, 1972-1994
[attachment=32944]
[attachment=32944]
Masks, front and side view (Olive Oil), 1998
[attachment=32945]
[attachment=32945]
Peter Paul Skin Sample (Edition for Parkett 73), 2005
[attachment=32946]
[attachment=32946]
顶！嘿乐乐这两天好勤奋那！
可爱的人
一叶一菩提,一花一世界
--------------
Paul McCarthy
American artist born in Salt Lake City UT, 1945. Lives andworks in Los Angeles. He studied at San Francisco Art Institute(1969) and University of Utah, Salt Lake City (1966-68) Americansculptor, performance artist and video artist.
McCarthy first developed a mode of violent performancepainting, before he emerged as a performance artist in the early 1970swith a series of now notorious works. Interested in the parallels betweenAmerican mass culture's pervasive infantilism and contemporary society's meansof civilising young children, through toys and educational TV shows, heattempted to blur all the boundaries between childhood innocence and adultknowledge and sexuality. In the 1980s McCarthy began to concentrateon found object sculpture, exhibiting many of the props used in his performancesand making kinetic sculptures.
He gave up live performances in 1984 but continued toproduce performances on video. In the 1990s he produced more realisticmannequin-like figures which continued to explore taboos surrounding sexualityand the nuclear family. During this period McCarthy also began to make a seriesof static figurative sculptures reminiscent of theme park figures, mascots andconsumer architecture.
His work has been shown in recent major exhibitions at CCAWattis Institute for Contemporary Arts, San Francisco (2009); the WhitneyMuseum of American Art, New York (2008); Stedelijk Museum voor Actuele Kunst,Ghent (2007); Moderna Museet, Stockholm (2006); and Haus der Kunst, Munich(2005), among others. He has participated in many international events,including the Berlin Biennial (2006); SITE Santa Fe (2004); WhitneyBiennial (1995, 1997, 2004); and the Venice Biennale (1993, 1999,2001).
Paul McCarthy
Public Art
Public Art
Paul McCarthy 早期作品图片
Ma Bell 1971
Video b/w
7 min 6 sec
Face Painting-Floor, White Line, 1972
Video b/w
6 min 2 sec
Whipping a Window and a Wall with
Paint, 1974
Video b/w
7 min 6 sec
Glass, 1974
Video (colour)
19 min 25 sec
Rocky, 1976
Video (colour)
21 min 30 sec
paul_mccarthy-happy_traveler-2008
paul_mccarthy-puppet-2005-2008
paul_mccarthy-static-pink-2004-2009
Fondazione Nicola Trussardi:
"PIG ISLAND"
PAUL McCARTHY
May 20 - July 4, 2010
Painted Silicone, t-shirt, artficial hair, plastic, styrofoam, garden chair
Glass, Ketchup, Heinz Ketchup Bottles, Installation view
Silicone, Stainless Steel Installation, Pig Island
Styrofoam, Wood, Silicone
Wooden chair, Doc Johnson butt plug, bolts, Installation view
Installation view
"chair with butt plug" 1978
wooden chair, doc johnson butt plug, bolts
89X46X43cm
"Paula Jones" 2010
silicone, aluminum, wood, latex, polyurethane
the show explores an underground bunker carved out beneath the city,
it is installed in one of the grandest examples of contemporary architecture in mailan: still completely
hidden to the public, and left in a state of disrepair where one finds the archeological artifacts of
a never-never-land: "pig island" combines paul mc carthy's hypertrophic, rabelaisian works with the rawness of a gigantic, endless work-in-progress.
"pig island" by Paul McCarthy, 2003-2010
mixed media
11X10X6m
detail of "angelina jolie"
bush in a detail of "pig island" installation
"daddies tomato kechup inflatable" 2010
nylon fabric, fans, equipment
installation view with "daddies tomato ketchup inflatable"
Paul McCarthy
installation view with "F-fort party" video
video installation
PAUL McCARTHY
THREE SCULPTURES
SEPTEMBER 23 - NOVEMBER 6
Apple Tree Boy Apple Tree Girl, 2010
Ship of Fools, Ship Adrift, 2010
Train, Mechanical, 2003-2010
