구겨진 명품 얼굴 / John McCarthy

 

 

John McCarthy: Untitled (Kate) acrylic on canvas 75 x 60 cm (30 x 24 in)

 

 

 

 

 

John McCarthy: Untitled (Penelope) acrylic on canvas 102 x 82 cm (40 x 32 in)

 

 

 

 

 

John McCarthy: Untitled (Closed Eyes) acrylic on canvas 50 x 40 cm (20 x 16 in)

 

 

 

 

 

 

John McCarthy: Untitled (Hair) acrylic on canvas 82 x 102 cm (32 x 40 in)

 

 

 

 

 

John McCarthy: Untitled (Prada) acrylic on canvas 102 x 107 cm (40 x 42 in)

 

 

 

 

 

 

John McCarthy: Untitled (Blue Eyes) acrylic on canvas 50 x 40 cm (20 x 16 in)

 

 

 

 

 

 

John McCarthy: Untitled (Blue Eyes) acrylic on canvas 50 x 40 cm (20 x 16 in)

 

 

 

 

John McCarthy: Untitled (Armani) acrylic on canvas 66 x 81 cm (26 x 32 in)

 

 

 

 

 

 

John McCarthy: Untitled (Brown Eyes) acrylic on canvas 40 x 50 cm (16 x 20 in)

 

 

 

 

 

 

John McCarthy: Untitled (Gwen) acrylic on canvas 66 x 81 cm (26 x 32 in)

 

 

 

 

 

 

John McCarthy: Untitled (Blonde) acrylic on canvas 50 x 40 cm (20 x 16 in)

 

 

 

 

 

 

John McCarthy: Untitled (Halle) acrylic on canvas 76 x 61 cm (30 x 24 in)

 

 

 

 

 

John McCarthy: Untitled (Chanel) acrylic on canvas 61 x 76 cm (24 x 30 in)

 

 

 

 

 

 

John McCarthy: Untitled (Money, Money, Money) acrylic on canvas 76 x 61 cm (30 x 24 in)

 

 

 

 

 

 

John McCarthy: Untitled (Kate) acrylic on canvas 100 x 80 cm (40 x 32 in)

 

 

 

 

 

John McCarthy

‘NOW IS ALL THERE IS’

John McCarthy was born in Essex in 1960. He studied at St Martin's School of Art, London from 1996-97. He was selected for the BP Portrait Prize at the National Portrait Gallery, London for which he won the Visitor's Choice Award in 1999. This led to successful solo and group shows in London in 2000 and 2001, followed by a group show in Los Angeles in 2003.

The ideology behind this most recent exhibition of paintings focuses on the repetitive nature of art history. Fashion photographers often incorporate certain art historical references in their pictures – for example, dramatic lighting reminiscent of a Caravaggio or Vermeer painting, or the way in which the body is represented in a sexual way similar to a sculpture by Michelangelo or Bernini.

McCarthy manipulates images of popular magazine advertisements and glamorous celebrities. The paper is literally screwed up, rephotographed and then copied much larger onto canvas. The original picture is thus reinterpreted, given a new urgency and gains fresh connotations associated with the fragility of paper and human existence.