John Currin's Gagosian debut contrasts explicit eroticism with painterly still lifes

John Currin's exhibition at Gagosian Gallery, running until December 22 at 980 Madison Avenue between 76th and 77th streets, presents a stark contrast between explicit sexual imagery and painterly still lifes. This marks his first show with Gagosian since 2004, following previous exhibitions at Andrea Rosen Gallery. The display includes 20 canvases, all reportedly sold before opening for over half a million dollars each. Scenes of group sex, titled after Northern European cities like Rotterdam, Copenhagen, and Malmo, reference 1970s porn aesthetics with sketchy brushwork. In contrast, still lifes such as "Heritage Hall" (2003–06) feature detailed renderings of china and glassware on a neutral brown ground, showcasing Currin's engagement with light and form. The artist's work draws comparisons to Norman Rockwell for its illustrative quality and to Otto Dix and Christian Schad from the Neue-Sachlichkeit movement, though without their social critique. Currin's technique, often described as mannerist, employs traditional painting methods that appeal to familiar tastes. His newer subjects include tender portraits of his wife and son, moving away from grotesque distortion toward observational realism. The exhibition highlights a split between image-making and the act of painting, with erotic motifs delivered perfunctorily while crockery paintings exhibit genuine painterly energy.