Paul McCarthy

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

Rocky comprises a single monitor video and fourteen related drawings. The video begins with a man, McCarthy himself, waiting before the camera with his back turned and then turning to face it. Wearing shorts and boxing gloves, he begins to address the viewer in muttered sounds which mimic the manner in which actor Sylvester Stallone speaks as the character Rocky in the eponymous 1976 film. He begins occasionally to hit himself on the head, as though to clear his thoughts and to demonstrate his virility, but gradually the number and violence of the blows increases. It appears as though the Rocky character is having an imaginary fight with another person, but as the film develops it turns into a masochistic fight with himself.

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

The performance takes place in a small setting with an audience, but that's only a part of the artwork. After filming the performance he uses them again in installations where he is Miss Piggy or Heidi. And of course lots of ketchup, Mayonnaise and chocolate sauce.

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."

Drawing on the idiom and imagery of the consumer culture he grew up in, video artist Paul McCarthy distorts and mutates the familiar into the disturbing and grotesque as fairy tale narratives and foods are transformed into tableaus of abuse and violation.

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."

Following the piece Heidi, a loose interpretation of Joanna Spyri’s novel by the duo of Mike Kelley and Paul McCarthy, Kelley performed four dances with just an apparently innocent basket as a prop.

Dressed in a green wig, clown mask, and small hat, the artist raises and lowers his hands, sways his unclothed body, and hums a simple melody. He performs in front of a wooden partition, with close-up shots of his face intercut with views of his full body or torso. Eventually, he makes a loud exit from the frame. This work is the precursor to Experimental Dancer.

2 channel 16:9 color video w/ sound, duration: 16:50 min An animated image flow of the absurd actions of male tyrants. Images of the world of male madness. The performance of drawing while in character was video recorded then later processed two separate times in collaboration with the machine, altering the range between the video recording of the performance and the written prompt – increasing and decreasing the hallucination.

On the influential and groundbreaking contemporary American artist

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.

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."

Black and White Tapes derive from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975. Conceived for the camera and performed alone or with only a few people present, these short performances use video to articulate both monitor and studio space.

16:9 color video w/ sound, duration: 1hr 47:14 min Adolf Adam and Eva Eve make soup and talk to the camera while drinking Champagne. Adolf Adam is the American fat pig-artist and Eva Eve is the German actress, daughter, pretend Marilyn. Fun and games in the kitchen, on the floor, a love-frolic on the slippery kitchen counter, ending with Eva Eve’s sick head in the soup pot.

Wolf-Pig (2024), an AI-generated video work that shows Paul McCarthy’s latest interest and experimentation with new technologies.

Paul McCarthy, with the mask of Mad Magazine icon Alfred E. Neuman, prepares a meal – makes a mess – in the set of the America soap ‘Family Affair’.

Paul McCarthy’s “Red Poster Tapes,” created in 1971-72, faithfully carry out a series of straightforward but bizarre instructions: “I Smear Vaseline on Our Legs With a Pipe,” “I Break Pencils With My Teeth,” “Karen Releases a Rabbit at Night,” “I Eat All I Can and Laugh.”

In a shamanistic, quasi-sexual ritual performance, McCarthy threw himself around a ketchup-spattered classroom at the University of California, San Diego until dazed and self-injured. He then vomited several times and inserted a Barbie doll into his rectum. The piece ended when the audience could no longer stand to watch his performance.

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