Joseph Geagan isn’t concerned with featuring morality tales in his paintings, but rather “a showing off tale.” Taking a closer look at his new solo show atwhich borrows it’s name from Giacomo Puccini’s famous opera, which he confirms “was boring”) features paintings that capture lively, carnival-like scenes of decadence and wealth that conceal something far more dysfunctional and degenerate.
MCCOLLISTER: Right. But it’s also ancient France. Joseph, I really admire you for being such an epic American artist, there is something bizarrely European about yourself.for the first time recently at the Met with the Zeffirelli staging, and I was really ready to be so horny, and I was vaguely disappointed by the Zeffirelli staging.
GEAGAN: And sunglasses on their head. When I was looking into what frat boys do, in all of the pictures, they had sunglasses on the top of their heads. MCCOLLISTER: Hello. But there is an aspect of all of your paintings that is sort of psychedelic in terms of you’re seeing every fucking age of a space at once.GEAGAN: I really thought about time. And for so many years, as an artist in New York and other places, sentimentality about other eras was kind of seen as silly–So I thought about how to meld eras that make sense to me. In the end, it does become New York-specific in a lot of ways.
MCCOLLISTER: Yeah. You are very Taurus to me. So, okay, so this portrait of John, he’s featuring this psychotically amazing outfit and—MCCOLLISTER: But this is an L.A. portrait, definitely, because it’s outside at night.MCCOLLISTER: It’s so romantic. I mean, John is devastatingly beautiful, but this portrait is devastatingly beautiful.
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