New York

Paul McCarthy

Maccarone | 630 Greenwich Street

Paul McCarthy’s work questions success in a culture of inauthenticity, of signature replaced by logo, of simulacrum over original. His recent project, Santa’s Chocolate Factory, 2007, perfectly exemplifies these vexed postmodern tropes. Emerging in the 1960s amidst the work of a grand generation of transgressives that includes Mike Kelley, Charles Ray, and Bruce Nauman, McCarthy’s anal-oriented performances and sculptures, with their manic embrace of bestiality and scat, their references (mayonnaise for sperm, ketchup for blood, chocolate for shit) to blood mysteries, and their unrepentant focus on the rectal, quickly became the incarnations of a new, socially acceptable painterliness harking back to Abstract Expressionism.

In effecting this shift in values, McCarthy achieved the longed-for transgression of all art that begins in the rediscovered infantile and not in the agreements of

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