Philip Guston, East Tenth, 1977, oil on canvas, 203.2 x 255.3 cm. Art Gallery of New South Wales Art Gallery of New South Wales Foundation Purchase 1988 © The Estate of Philip Guston Photo: Felicity Jenkins, AGNSW.
Dana Schutz, Breast-feeding, 2015, oil on canvas, 213.4 x 203.2 cm. Art Gallery of New South Wales Purchased with funds provided by the 2015 USA Foundation Tour and the Mollie and Jim Gowing Bequest Fund 2016 © Dana Schutz. Photo: Felicity Jenkins, AGNSW.
Ben Quilty, Self portrait, the executioner 2015, oil on linen, 195 x 140.4 cm. Art Gallery of New South Wales, Gift of the artist 2015. Donated through the Australian Government’s Cultural Gifts Program, © Ben Quilty. Photo: Jenni Carter, AGNSW.
Abstraction fades in and out of fashion, but figurative painting never goes out of style. As Justin Paton, head curator of international art at the AGNSW, points out, “From cave paintings to now, people have always wanted to make pictures of people.” In the group show Something living, Paton has brought together a rich collection of figurative works; paintings which he says offer “a gooey, meaty and visceral contrast to the forms of abstract painting (sometimes called zombie formalism, sometimes called post-internet painting) which have been prominent in recent years.”
The exhibition features recently purchased paintings by Mernet Larsen, Arlene Shechet, Dana Schutz and Ben Quilty. Paton says these works “seemed to call out to each other.” They share, he explains, “intense physicality, shape-shifting forms, visceral textures, a mix of the comic and grotesque, and an absurdist (but also deeply serious) engagement with the human condition.” The show also includes paintings by Georg Baselitz, Neo Rauch and Philip Guston (to name but a few).
“Indeed the title comes from a quote of Guston’s, in which he expresses a desire to make paintings that do more than just illustrate or diagram the world but rather have an uncanny, unruly life of their own.”
At the core of Something living is the realisation that painting may be old-school, but it can still be a risky business. “Paint is a fluid, sticky and hard-to-control medium,” Paton says. “These aren’t images that were pre-planned and executed. Rather they were discovered. That sense of open-endedness and risk is exciting, and so different from the kind of over-controlled and pre- determined imagery that comes at us from every other direction.”
Something Living
Art Gallery of New South Wales
19 August – 11 February
From matrescence-themed collages and intimate family portraits to a series of events centred on the intersection of design and fertility, revisit six pieces from the Art Guide archives that explore the relationship between art and motherhood.
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