Paul McCarthy

  • Paul McCarthy

    CLOWN TORTURE TORTURE CLOWN Making science out of flutter making flutter into science language as doom thought then through thought as slump and all that as the opposite of clutter the tunnel in the body is insignificant in this case reality absurdity Bruce says have you read Beckett then endless rap action repetition repetition repetition lost ones as we are below grown the clown shits the view from above who is he the clown the other an abstraction discussed disguised the underground architecture separate discussion or is it abstract clown geometry formations similar to the sensation of drowning

  • Maria Lassnig, Selbstporträt mit Kochtopf (Self-Portrait with Cooking Pot), 1995, oil on canvas, 49 1/4 × 39 3/8".

    Maria Lassnig

    EMPHASIS ON CHEEKBONES cheekbones squared chip blue Austria realize to suspense where shit squared chip Chin Chin chin will Francis Bacon believes in the a background he contains them in a man space room contained in a room fit for a father will he come the father augury almighty to punish the little boy says Muery Marie Maria there must be a girl named Maria she won’t leave and nothing nothing she may paint a father bit but not a mother nothingness nothingness is in the background there is nothing in the background the human body body sensation mouth opened in shock shock or of nothingness body

  • Mike Kelley and Paul McCarthy, Heidi: Midlife Crisis Trauma Center and Negative Media Engram Abreaction Release Zone, 1992, still from a color video, 62 minutes 40 seconds.

    Paul McCarthy



    I undergo an asshole I enter through an asshole was full but my mother my mother was in the room the corner through the asshole who was March 1st that’s Timpanogos Cave my mother was in a cave but I brought there coming down the stairs at the bottom was like M. Kelley with his mother like son this is Mrs. Kelley I said this is my Mrs. McCarthy I said this is my mother Mrs. McCarthy like to follow me I went under this is Mrs. Kelley’s skirt under Kelley’s skirt he was lying flat on her back legs spread and walked up to her up to his crotch like squirrels and self

  • Eleanor Antin, 100 BOOTS Move On, 1972, black-and-white photograph, 8 x 10". From the series “100 BOOTS,” 1971–73.



    David and I arrived in Solana Beach, a coastal town north of San Diego, after driving cross-country from New York in an old beat-up Caddy with our one-year-old son, Blaise. Robert Kennedy was dying of gunshot wounds in an LA hospital after winning the California primary, and it was twenty-four hours after Valerie Solanas shot Andy Warhol back in New York. A hot sunny day in June 1968, and there were huge juicy oranges in the back garden. A year later Manson and company went on their rampage in the Hollywood Hills, and the Hells Angels went on theirs at Altamont a couple of months

  • Jason Rhoades

    Well before his untimely death on August 1, 2006, at the age of forty-one, Jason Rhoades had made an indelible mark on the art of his generation. Artforum asked four of Rhoades’s colleagues and friends to reflect on the man and his work.


    The thing with Perfect World is you can fall off of it and it can kill you. You can walk on this surface, but it has these holes, these cracks and these soft spots, these traps, where it’s just papered over. It is kind of a reality of (my) working. I wanted to build this thing which somehow mimics real life.

    —Jason Rhoades, in a 1999 interview with

  • Clockwise from top: Allan Kaprow, ca. 1978. Allan Kaprow, Days Off: A Calendar of Happenings, 1968, photo offset on newsprint, staples, shrink-wrap, 10 1/2 x 15 3/8". © Hauser and Wirth Zürich London. Invitation for Allan Kaprow's Courtyard, 1962. © Museum of Modern Art Library.


    Allan Kaprow’s death this spring at age seventy-eight, a profound loss by any measure, is all the more impropitious given the recent upsurge of interest in his work and the growing awareness of his contemporary relevance. While his happenings gained widespread notoriety in artistic circles and mass culture alike during the ’60s and ’70s, his evolving critical writings and activities both then and in later years resonate strongly within the context of today’s vital considerations of performance and spectatorship, aesthetics and politics, and private experience in an age of spectacularized commerce.

  • Paul McCarthy

    IF YOU TALKED TO ALLAN, he would say he wasn’t an artist. But he still maintained a kind of presence in the art world. I once did a gallery show in the early ’90s and asked him to contribute. After a while he came back and said, “Yeah, I want to do something. Could you ask the dealer to take a garden hose and water the sidewalk every day before the gallery opens?” The piece essentially went unnoticed. It wasn’t announced; there were no photographs or indication by the gallery that anything had happened. And yet it was a kind of participation.

    A couple of years ago, when a number of museums

  • Paul McCarthy

    Sour milk

    Late arrival

    M. Cram, “This sour milk.”

    Ed Kienholz, LA County Museum, Los Angeles, CA

    Wallace Berman, Ferris Gallery, Los Angeles, CA

    Dieter Roth, Eugenia Butler Gallery, Los Angeles, CA

    Suitcase full of stinky cheese 1970

    Show closed by Board of Health

    Milk that has become sour milk

    One should drink sour milk

    Martin Kippenberger

    Kurt Kren

    Dieter Roth

    Myth of rotting cheese

    Black book, 3/4 x 5 x 7",

    Cal Arts Library, 1970

    I misplace the book, 1971

    Cheese and chocolate, rotting matter

    Cheese and chocolate are breaking down

    Fumes escaping, a constant transformation of material

    The inevitable