Joseph Geagan sits down with Ruby McCollister to talk about the ideas behind new solo show at Lomex, 'La Bohème.'
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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