Why I Love Paul McCarthy

Paul McCarthy paints with his face. He once plastered his head inside a wall. He made a sculpture of a man with his pants down, humping a tree. He dipped his penis in a paint can and painted with it. He created a sculpture called "Santa Claus with Buttplug", which was displayed in a public park in Belgium.

What's not to love?

His work is corporeal and messy and comes from that impulse that makes you smash your fork into your mashed potatoes and fling it around the room. It's a reminder of the human animal and the fact that all this stuff we have built around us doesn't change our animal nature. While other artists are inside playing Boggle, he's going face-first down the Slip-n-Slide.

It's also fun. I saw his current installation at the Whitney Museum, which has an open staircase leading from one gallery level to the next. His gallery was full of stuff playing with rooms, so for example a life-sized video of the camera view spinning around a room. You stand still but your viewpoint spins.

There was also a small enclosed room with an open doorway and a rolling executive leather office chair bolted in the center. The room turned around like a carousel at various speeds, speeding up and slowing down, and the chair spun with it. The drawings of the project on the wall showed a person in the chair; I wonder if it was ever tried out that way. It was fun to picture that.

But this was the best part -- there was an installation called something like Bang Bang Room or Bang Door or something. A four-walled room, each wall with a door in it. The room starts closed up, closed doors. Then each wall swings out on right-mounted hinges. Then each door opens and closes with a bang. This keeps happening, at various speeds, until the room closes back up and the cycle resets.

Do you know how pleasant the sound of a four banging doors is? In an echoing gallery space, with an open stairwell at one end that carries the sound to the galleries above and below?

The poor museum guards. There's only one way to make that job worse than boring, and this was it.

But wait! There was an elderly white male guard at one end of the bang room. He stood looking at the room. There was another guard on the opposite end, a young black lady. When the door flung open, the old guard could see through to the young guard. Then they'd slam shut, and he couldn't see her.

Every time the doors flung open, he grinned widely, raised his arm, and waved at her. Slam. Fling, grin, wave, slam.

The young guard just looked at him bleakly.

That whole scene made my day. Thanks, Paul McCarthy!

I love that he forced this museum to install such an annoying piece, and that you were reminded of it even if you went upstairs to look at the amazing Buckminster Fuller exhibit because you could still hear it when you stood near the stair side of the room. McCarthy one up on Fuller in this one.

Paints with his face, people. Chew on that.