Christopher Thompson, an English artist, was born in Grimsby in 1969 and studied at The Royal Academy. Since graduating he has exhibited extensively at home and abroad, his work featuring in many private collections and, most notably, in The National Portrait Gallery in London.
This is a small portrait of the maverick gay performer and nightclub personality Leigh Bowery (1961-94). It portrays Bowery’s head and naked upper torso framed against dark red upholstery. His bald head rests against his raised left shoulder, his eyes are closed and his cheeks and mouth hang loosely as though he is asleep. Freud’s manner of painting emphasises the fleshiness of Bowery’s face. This is achieved through the application of paint in different textures – in some areas relatively smooth, in others thickly but delicately built up. Apparently unconscious of the artist’s gaze, Bowery has a vulnerable appearance which belies the bulk of his physical form.
In this taboo-busting, whimsical work from 1954, the poet Frank O'Hara, Rivers's close friend and sometimes lover, is revealed in full-length posture standing naked - a better term than nude - with his arms clasped on top of his head, gazing unabashedly at the viewer. He is wearing only leather combat boots, one foot propped up on a breeze block. Rivers painted a number of portraits of O'Hara, but this is by far the most provocative.
This portrait reveals Rivers's raw talent as a portraitist and draughtsman, a talent which was unfashionable at a time when Abstract Expressionism still reigned supreme. Again, however, Rivers's rebellion was political as well as aesthetic: the overt homoeroticism of the work, that is, was particularly daring during the 1950s, the era not only of the Red Scare, but also of the so-called Lavender Scare. Being gay in 1950s America, just like being a Communist, was seen as a threat to national security, so much so that the Government launched a witch-hunt to out homosexuals and have them removed from their posts. Standing at 2.5 meters tall, this painting makes an imposing and provocative statement in an era long before personal identity - let alone gay identity - was a suitable subject for modern art. As art critic Ken Johnson explains, "[t]he way the young, muscular O'Hara stands with hands on his head and one foot up on a concrete block creates a casual sexual vitality that slyly subverts high-minded traditions of the academic nude."
A closer look at the painting will reveal a witty dialogue between 'high' and 'low' cultural references. As Johnson suggests, the portrait mimics an Old Masters' painting in some aspects of its composition, but O'Hara also seems to be posing in the style of a contemporary pin-up. For the sitter himself, "what Larry was trying to do was keep it from being academic. But at the same time getting in the ring with [Theodore] Géricault," the French Romantic portraitist. O'Hara and Rivers's relationship was defined by a meeting of the high and low-brow. The pair were formidable intellectuals, who would spend much of their time discussing literature and art. But they were also party boys: O' Hara, in particular, was famous for cruising for sex in downtown New York.
Working with common themes such as time, isolation, and transition, I am interested in the fragility of relationships and people’s awkwardness in trying to coexist and relate to one another. To that end I create miniature 3D models to serve as evolving still lifes from which I paint detailed narrative paintings. Using cardboard, foam, wood, paint, glue, and model railroad miniatures, I construct various fictional, scale models. Recent models have included a town, neighborhood, lake, theater, doctor’s office, church, and numerous domestic interiors. The models become a stage on which I develop narratives. They offer me complete control over lighting, composition, and vantage point to achieve a certain dramatic effect.
Frank Bowling - Who’s Afraid of Barney Newman (1968)
This painting is made up of three vertical strips of green, yellow and red which occupy the left, centre and right of the painting respectively, from top to bottom. Outlines of maps of Guyana and the South American sub-continent have been stenciled in off-white paint on top of these strips in the centre of the canvas. Painted using water-based acrylics, the boundaries between the three strips of contrasting colour are ragged and indistinct. Bowling began using acrylics in the late 1960s because the fast drying nature of the paint allowed for more malleability and the practice of staining created a sense of diffusion between the different tones. As the size of his paintings increased in this period, Bowling moved from upright easel painting to working directly on canvases spread out on the studio floor or pinned to the wall. This allowed him to use broader brush strokes and play with loose overlays and stencils. The outlined maps in this work were produced using readymade stencils which Bowling employed in numerous paintings of the same period, such as Mother’s House on South America 1968. Bowling was influenced by the use of maps in paintings by the American artists Jasper Johns and Larry Rivers, whom he befriended after moving to New York from London in 1967.
Bowling’s reference to Guyana suggests that the work should be understood biographically: Bowling was born there in 1936 and emigrated to Britain in 1950. However, Bowling himself resisted such interpretations and saw his works as examples of the American critic Clement Greenberg’s objective high modernism. By way of the work’s humorous title and through its adoption of the colours of the Guyanese flag, Bowling explored the cultural complexities of an African diasporic identity, playing with the aesthetic objectivity of abstract expressionism and interpretations of his own painting practice as ‘black’. As a contributing editor of Arts Magazine between 1969 and 1972, Bowling wrote a number of articles on this theme, exploring, with a humourous tone comparable to the title of this work, the challenges of being an artist of ‘colour’.
The work’s title alludes to a painting from 1967 by the American abstract expressionist artist Barnett Newman, entitled Who’s Afraid of Red, Yellow and Blue II (Staatsgalerie, Stuttgart). The thinner yellow strip in Bowling’s painting refers directly to Newman’s compositional ‘zip’ device, a thin line of paint which separated large fields of contrasting colour and provided the flat canvas with a sense of space and depth. Bowling’s spectral outlines of maps, positioned along the ‘zip’ of his own work, add further compositional and interpretive depth to his work in that they seem to challenge the dominance of North American artists in the practice of painterly abstraction. The colloquial naming of ‘Barney’ in the work’s title suggests a playful engagement with Newman’s work, but it also reflects Bowling’s growing concerns with being pigeonholed as a ‘black artist’ by critics and curators.
In its use of maps and the colours, this work exemplifies the transition between figurative painting and complete abstraction in Bowling’s career, but also marks a transitional period in the development of Guyanese independence. The work was painted two years after Guyana achieved independence from Britain and two years prior to its recognition as a Commonwealth republic. As well as relating to the Guyanese flag, the three-part colour scheme also suggests the colours of the Rastafari, with, as art critic Mel Gooding notes, ‘red signifying the blood of martyrs, green the vegetation and natural plenitude of Africa, and gold the wealth of Africa’, though, according to Gooding, ‘Bowling was unaware at this time of this specificity of symbolism’ (Gooding 2011, p.65). The series of paintings with maps, of which Who’s Afraid of Barney Newman is an important component, represents Bowling’s final engagement with figurative imagery. In 1972 the artist abandoned all representational references in his painting and began working in an entirely abstract mode.