Paul McCarthy

1945 (80 лет)

While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary "Leap into the Void." McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media. Mining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny. In the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.

Фильмы

Coach Stage Stage Coach

Paul McCarthy

Rachel Alig, Jennifer Daley

Paul McCarthy's reinterpretation of John Ford's classic western Stagecoach.

Coach Stage Stage Coach

7.3 ⚠️ 2021

вестерн

Pinocchio Pipenose Household Dilemma

Paul McCarthy

With his Pinocchio Pipenose Household Dilemma, Paul McCarthy shows that interfaces don't always have to be a complicated business. Contact with the world of this American artist is established by dressing in red & yellow coveralls, enormous red plastic shoes and a mask with a long tube for a nose. Dressed in this low tech interface the audience can see on video how another Pinocchio - Paul McCarthy himself - covers himself in ketchup and chocolate paste. -http://v2.nl/archive/works/pinocchio-pipenose-household-dilemma

Pinocchio Pipenose Household Dilemma

6.2 ⚠️ 1994

DADDA - Poodle House Saloon

Paul McCarthy, Damon McCarthy

Paul McCarthy, Rachel Alig

The first chapter of a pseudo western series, a meditation on mediated violence. Donald Duck, his wife Daisy Duck, their daughter Bonkers, Nancy Reagan, Andy Warhol, John Wayne, Mini, Heidi, Poncho, and the Cartwrights abuse, torture, and kill each other.

DADDA - Poodle House Saloon

2019

США

Family Tyranny (Modeling and Molding)

Nancy Buchanan

Paul McCarthy, Mike Kelley

Experimental video about child abuse. McCarthy: "I was given access to a community television studio for two days of shooting and one day of editing. I had been given the grant based on a proposal to do a video tape on child abuse. I taped for one day alone and one day with Mike Kelley. I asked Mike Kelley to be the son and I would be the father. There was no written script. After taping for two days, I edited the tapes, making two separate tapes: Family Tyranny and Cultural Soup. They are often shown together."

Family Tyranny (Modeling and Molding)

1987

Experimental Dancer

Paul McCarthy

In contrast with McCarthy's recent projects, however, many of his older works are little short of incendiary--particularly three videos from 1975, whose now lo-fi texture and queasy saturation only add to their bad-dream quality. Here is McCarthy, in Experimental Dancer, as something legitimately alarming: an idiot self-celebrant prancing naked in a grotesque, grinning mask, tucking his cock between his legs or pulling it into distension, waving scissors around, ceremonially trimming his pubic hair, and pushing his anus toward the camera.

Experimental Dancer

1975

Fresh Acconci

mike kelly, Paul McCarthy

Artists McCarthy and Kelley re-stage classic 1970s performance pieces by Vito Acconci, with a decidedly ironic Southern California sensibility. States McCarthy: "[The piece] is a reference to art now, to a resurgence of the 1970s and an interest in youth in the art world. There are also references to Hollywood 8 movies and soft porn made in the Hollywood hills... In Fresh Acconci, the New York art scene is sandwiched with Hollywood. Two kinds of aesthetics overlap. The tape itself crosses lines of what is politically correct, exploitation and softening or obscuring the meaning."

Fresh Acconci

2021

Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone

Paul McCarthy, Mike Kelley

A collaborative work based on Joanna Spyri's novel, Heidi.. The entire work consisted of a fabricated set, a group of partial and full life-size rubber figures, two large backdrop paintings, and a video tape shot entirely on the set. The set was installed at the center of the gallery (Galerie Krinzinger, Vienna)... We were interested in imitating film and television production, and exaggerating the fractured process of film. - Paul McCarthy In Heidi we toyed with this illusionary nature by treating the doubles and stand-ins for the actors as obvious sculpture, more in the manner of a puppet show than traditional film. - Mike Kelley

Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone

1992

США

Cultural Soup

Nancy Buchanan

Paul McCarthy

A man makes soup with mayonnaise and dolls. McCarthy: "I was given access to a community television studio for two days of shooting and one day of editing. I had been given the grant based on a proposal to do a video tape on child abuse. I taped for one day alone and one day with Mike Kelley. I asked Mike Kelley to be the son and I would be the father. There was no written script. After taping for two days, I edited the tapes, making two separate tapes: Family Tyranny and Cultural Soup. They are often shown together."

Cultural Soup

1987

Painter

Paul McCarthy

In Painter, the mythology of the artist as hero is attacked in a grotesque, parodic performance that unambiguously points to the abstract expressionists. Performing as the painter, McCarthy undermines pre-packaged ideas about the creative process by turning it into an absurdist soap-opera.

Painter

1995