Controversial Filmmaker Harmony Korine Applies Cinema to Canvas
As a filmmaker, Korine has been recognized for his innovative cinematic style for more than 20 years, with awards and nominations from a number of prestigious film festivals. His movies—such as Spring Breakers (2012), Gummo (1997), and Kids (1995)—are considered cult classics and have been highly influential for a generation of young cineastes. Although he is less known for his paintings, he has been showing them internationally since the late ’90s, along with Gagosian Gallery, Beverly Hills, Korine presents “Raiders,” a new series of paintings developed over the past several years.
Earlier in his career, Korine worked in an expressive, primitivist style, often
In another series, Korine uses lines in a manner similar to his checks, such as Nudity Clause Line and Scubby Line. In these he becomes far more liberal in his use of color, covering the textured canvas with pink, yellow, green, and blue lines that dance over the surface. They resemble prints by Jasper Johns from the late 1970s and early ’80s and explore similar concerns about the dialectical relationship between images and the content they carry. Their
Many of Korine’s paintings make strange reference to figuration—and to themselves. Creol Teen Revolutions pokes fun at the pidgin-like titles he uses. Its painterly marks and scrubbed-in figure make more explicit the sort of images that are only hinted at in his other works and resemble the kinds of cryptic characters and images frequently found in his movies. As an extension of his filmic practice, Korine’s paintings stand as counterpoints—still images of the artist’s world, expressive and moving in their own.
“Harmony Korine: Raiders” is on view at Gagosian Gallery, Beverly Hills, Jan. 10–Feb. 14, 2015.
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