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Immediate dispatch from Somerset. Nice book in great condition. Pages in excellent condition. Images are beautiful bright and vivid. No notes or highlighting. See images. Fantastic book.

About the book >.>.> Yuskavage’s classmate at Yale University John Currin shares her sympathy for the misshapen physiognomy that has become her trademark though his strangely proportioned figures are more obviously deformed by a skewed formalism-the attempt to draw badly but paint perfectly-rather than just a cruel act of nature. This is despite his use of live models to flesh out scenes taken from pin-ups mid-century films stock photo catalogs and Internet porn sites. His early works-anodyne yearbook-style faces that double as veiled self-portraits sick girls languishing in bed women with water-balloon breasts barely contained by tight sweaters posing with or without significantly older male companions-raised objections which have been partly quelled by Currin’s mastery of paint and flaunting of art historical sources: Old Master and Mannerist works were particularly important as were those by Gustave Courbet and Norman Rockwell among countless others. Currin’s first show in 1992 elicited a now-infamous review in the Village Voice urging readers to boycott it on account of its sexism. His exhibition at Gagosian Gallery New York in 2006 only furthered the cause when he titled several scenes of group intercourse after Northern European ciries- Rotterdam Copenhagen Malm? designating the nationality of the nudes. He has since pulled back from these prurient fantasies. As with some of his paintings from the late 1990s and early 2000s which depict such subjects as women preparing a Thanksgiving turkey and men making pasta he has revisited the theme of bourgeois satire. Although in 2009 Will Cotton produced a number of paintings based on Thomas Cole’s epic cycle of allegorical landscapes The Course of Empire (1833- 36) his work has tended to trumpet a kind of amorality unburdened by affairs of state. In 1996 he built an arrangement of foodstuffs in his studio from which he constructed excessive painted worlds of molten chocolate mountains of cake peppermint hedges and lollipop trees then conflated this cornucopia of gastronomic desire with other fleshly pleasures by introducing lanky female models sometimes posing supine like languid salon nudes on cotton-candy clouds. (MP)