A trip to Currin-land is like a science-fiction movie, in which familiar things-Old Master works by Bruegel and Courbet, the Rococo idylls of Boucher and Fragonard, girly photos from 1960s men's magazines, and cheerful ads for wholesome American products-are transformed into figurative paintings that border on the freakish. In John Currin's universe, everything looks both commonplace and fantastic, like Norman Rockwell paintings as seen through a fun-house mirror.
Esteemed art critic Robert Rosenblum reviews Currin's output of the past 10 years in this choice monograph-the first major book on Currin's white-hot career. Seventy-five provocatively titled colorplates exemplify the artist's trademark collision of classical technique and 20th-century kitsch. Currin has already caught the attention of Vogue, Vanity Fair, and The New York Times. And what reader wouldn't be curious to see Bea Arthur Naked (1991)?
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