Retinal Hysteria, Curated by Robert Storr
39 & 55 Great Jones Street
November 16, 2023 – January 13, 2024
November 16, 2023 – January 13, 2024
Head-Image
Retinal Hysteria
Curated by Robert Storr
November 16, 2023 – January 13, 2024
Opening: Thursday, November 16th, 6:00 - 8:00 pm
Venus Over Manhattan
39 Great Jones Street & 55 Great Jones Street
New York, NY 1001
(New York, NY) – Beginning November 16, 2023, Venus Over Manhattan will present "Retinal Hysteria," an expansive two-venue exhibition curated by Robert Storr, who was previously Senior Curator in the Department of Painting and Sculpture at the Museum of Modern Art, and Dean of the Yale University School of Art.
"Retinal Hysteria" will include works by
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Installation view of Retinal Hysteria, curated by Robert Storr, at Venus Over Manhattan, New York, 2023
Featuring works by more than forty artists, "Retinal Hysteria" draws its inspiration from "Eye Infection," the landmark 2001–2002 exhibition presented to critical acclaim by the Stedelijk Museum. Curated by Jan Christiaan Braun, "Eye Infection" achieved enduring international impact—and influence that continues today—via Storr’s accompanying catalogue essay, a tour de force that captured and advanced the maverick sensibility shared by the exhibition’s five artists: a small cadre of Americans united by their interest in the unsightly aspects of contemporary life, a challenge to establishment and avant-garde standards, a flair for blending meticulous facture with audacious vulgarity, and a distinct linguistic style frequently misread as mere jest or anti-intellectualism.
Now, almost a quarter century later, Storr revisits these central concerns and expands upon them in the present tense by organizing a cross-generational array of works that irritate, provoke, and unsettle, all against the backdrop of a world he perceives as “coming apart at its seams.” At the heart of Retinal Hysteria are key works by artists from "Eye Infection"—R. Crumb, Jim Nutt, and Peter Saul—who are here joined by a host of others, including historical figures and contemporary artists ranging in age from 32 to 89, who share a vigorous dedication to what Storr terms “disorienting intensity.”
Most works on view have never been presented publicly, with the majority created expressly for this exhibition.
Robert Storr on "Retinal Hysteria"
“Hysteria,” as Wikipedia would have it, is “ungovernable emotional excess.” To his lasting shame the good doctor Sigmund Freud deemed it a predominantly feminine complaint in line with the theories of his mentor, Jean-Martin Charcot who documented—and staged—the paroxysms of passion that plagued his oversexed, underserviced female patients. Their spasms are illustrated by numerous, photos, drawings and prints that Charcot published, images that later inspired Louise Bourgeois, who was fascinated by the iconography of women in distress, to make still more hysterical renditions of their agony. But as even the Parisian madhouse clinician and the Viennese mental conjuror knew hysteria could afflict men as well as women, and the whole body as well as the womb whence it was originally thought to emanate.
This show is devoted to how it affects vision. Indeed, to how the eye engenders it in traumatic conditions such as those we have been going through. Disorienting intensity has been the main criteria for selection instead of medium or manner. Stylistic affiliation has been of no concern to me whatsoever: Funk, Imagism, Underground Comix, you name it, are all just temporary labels for the expressive imperatives characteristic of "Retinal Hysteria."
I have also played fast and loose with chronology since it is a recurring phenomena. We saw it aplenty in the 1960s and 1970s when the world appeared to be coming apart at the seams. The world is indubitably doing so again now. Whether crisis and chaos prompt hysteria in artists, or whether it is more a matter of how they trigger audience reception within the general public is a question for professors. I am interested in experience – at its height. So welcome to rooms full-to-overflowing with images that vibrate with panic, uncontrollable anger, out-of-control laughter, orgasmic release and the sheer vertigo of living in a state of hypersensitivity to the disparate stimuli of, quoting one of "Retinal Hysteria’s" modern masters, H.C. Westermann, “a world gone nuts!”
– Robert Storr, Brooklyn, June 2023
For further information about the exhibition and availability, please contact the gallery at info@venusovermanhattan.com
Press Contact:
Andrea Schwan
Andrea Schwan, Inc.
andrea@andreaschwan.com
+1 (917) 371-5023
Image Credits: Images in the animated header include: Joyce Pensato, "The Original Mickey," 2018. Enamel and metallic paint on linen; 100 x 124 in (254 x 315 cm). Private Collection. Courtesy Venus Over Manhattan, New York. Ana Benaroya, "Your Good Girl’s Gonna Go Bad," 2023. Oil on canvas; 88 x 72 in (223.5 x 182.9 cm). Courtesy the artist and Venus Over Manhattan, New York. Ashley Bickerton, "Ash Passport," 2022. Acrylic on canvas; 86 5/8 x 74 in (220 x 188 cm). Courtesy the Estate of Ashley Bickerton, Gagosian Gallery, and Venus Over Manhattan, New York. David Wojnarowicz, "Untitled (alien mind)," 1984. Acrylic on masonite; 48 x 48 in (121.9 x 121.9 cm). Courtesy the Estate of David Wojanrowicz, P.P.O.W., New York, and Venus Over Manhattan, New York. Asher Liftin, "Cannibal," 2023. Acrylic ink and acrylic paint on linen; 51 3/16 x 39 3/8 in (130 x 100 cm). Courtesy the artist and Venus Over Manhattan, New York. Ed Paschke, "Success," 2002. Oil on linen; 60 x 70 in (152.4 x 177.8 cm). Courtesy of The Ed Paschke Foundation and Venus Over Manhattan, New York. Jim Nutt, "Loop," 1988. Acrylic on canvas, acrylic on wood frame; 28 5/8 x 23 5/8 in (72.7 x 60 cm). Private Collection. Courtesy Venus Over Manhattan, New York. Robert Colescott, "WHiTE GODDESS etc.," 1968. Acrylic on canvas; 63 7/8 x 51 in (162.2 x 129.5 cm). © 2023 The Robert H. Colescott Separate Property Trust / Artists Rights Society (ARS), New York. Courtesy of The Trust, BLUM, Los Angeles/New York/Tokyo, and Venus Over Manhattan, New York. Joyce Pensato, "The Original Mickey," 2018. Enamel and metallic paint on linen; 100 x 124 in (254 x 315 cm). Private Collection. Courtesy Venus Over Manhattan, New York. David Wojnarowicz, "Good Morning America, Export News," 1984. Acrylic, spray and collage on paper; 53 x 75 in (134.6 x 190.5 cm). Courtesy the Estate of David Wojnarowicz, P.P.O.W., New York, and Venus Over Manhattan, New York. Portrait of Robert Storr, courtesy Robert Storr.
The Brooklyn Rail: Retinal Hyerstia Panel
Press for Retinal Hysteria
Artsy: Why We're Drawn to Hysterical Art
CULTURED: ‘Retinal Hysteria,’ the Latest Exhibition Curated by Robert Storr, Is Meant to Provoke You
Art & Object: Robert Storr's 'Retinal Hysteria' Responds to Our Cultural Anxiety
Another Mag: Brilliant Things to Do This December
Artly: Six New York Gallery Shows December 2023
Document Journal: Robert Storr’s ‘Retinal Hysteria’ renders calamity artistic
Elliott Arkin, "Charlie Finch Eating Mary Boone Cookie Jar," 2002. Aqua resin and acrylic paint; 16 x 16 x 11 in (40.6 x 40.6 x 27.9 cm).
Ana Benaroya, "Your Good Girl’s Gonna Go Bad," 2023. Oil on canvas; 88 x 72 in (223.5 x 182.9 cm. Courtesy the artist and Venus Over Manhattan, New York.
Judith Bernstein, "EVIL HAS THE UPPER HAND #2 (TRUMPENSCHLONG)," 2023. Acrylic on canvas; 82 x 80 in (208.3 x 203.2 cm).
Louise Bourgeois, "Triptych for the Red Room," 1994. Aquatint, drypoint and engraving on paper, triptych; Overall: 27 3/4 x 111 3/4 in (70.5 x 283.8 cm).
Robert Colescott, "6 Witnesses," 1968. Acrylic on canvas; 78 3/4 x 59 in (199.7 x 149.9 cm).
Patricia Cronin, "Aphrodite Genetrix," 2023. Pigment resin coated photographs, face mounted to OP3 Plexi with painted wood brace; 60 x 45 in (152.4 x 114.3 cm).
R. Crumb, "Self-Loathing Comics #1," 2015. 17 color serigraph; Image: 11 1/2 x 8 in (29.2 x 20.3 cm) Sheet: 14 5/8 x 11 in (37.1 x 27.9 cm). Private Collection.
R. Crumb, "Burned Out," 2005. Etching on paper; Work: 15 1/2 x 11 1/8 in (39.4 x 28.3 cm) Framed: 18 3/8 x 14 in (46.7 x 35.6 cm).
R. Crumb, "Ick," 2023. Etching on Magnani Pescia paper; Work: 13 5/8 x 11 5/8 in (34.6 x 29.5 cm) Framed: 22 5/8 x 19 5/8 x 1 1/8 in (57.5 x 49.9 x 2.9 cm).
R. Crumb, "Fear of the Invisible," 2023. Etching on Magnani Pescia paper; Work: 16 7/8 x 14 in (42.9 x 35.6 cm) Framed: 23 3/8 x 20 5/8 x 1 1/8 in (59.4 x 52.4 x 2.9 cm).
Steve DiBenedetto, "God Head Bowling Alley," 2021-2023. Oil on linen; 28 x 20 in (71.1 x 50.8 cm).
Steve DiBenedetto, "Pharmacological Souvlaki," 2021-2023. Oil on linen; 30 x 22 in (76.2 x 55.9 cm).
Steve DiBenedetto, "Mental Reupholstery," 2022-2023. Oil on linen; 30 x 24 in (76.2 x 61 cm).
Carroll Dunham, "Untitled," 2022. Watercolor, water soluble crayon, water soluble pencil and pencil on paper; Work: 30 x 22 1/2 in (76.2 x 57.1 cm) Framed: 38 1/2 x 31 in (97.8 x 78.7 cm).
Daniel Herwitt, "Untitled," 2023. Ink, watercolor, color pencil, charcoal, acrylic on illustration board; 41 x 28 in (104.1 x 71.1 cm).
Mark Thomas Gibson, "They Keep Coming Back," 2023. Intaglio and ink collage on paper; 22 x 30 1/2 in (55.9 x 77.5 cm).
Mark Thomas Gibson, "The Dinner Party," 2023. Ink on canvas; 43 1/2 x 75 1/8 in (110.5 x 190.8 cm).
Mark Greenwold, "Study for Ship of Fools," 2022. Ink and watercolor on paper; 19 x 24 in (48.3 x 61 cm).
Mark Greenwold, "Study for American Dream #2," 2023. Ink on vellum; 18 x 24 in (45.7 x 61 cm).
Kim Jones, "Untitled," 2010. Synthetic polymer paint and felt-tip pen on chromogenic print; 8 x 12 in (20.3 x 30.5 cm).
Kim Jones, "Untitled (Barbara Gladstone Gallery)," 2012-2021. Synthetic polymer paint and felt-tip pen on chromogenic print; 12 x 9 in (30.5 x 22.9 cm).
Kim Jones, "Untitled," 1990-2016. Synthetic polymer paint and felt-tip pen on chromogenic print; 12 x 9 in (30.5 x 22.9 cm).
Kim Jones, "Untitled," 1980-2016. Synthetic polymer paint and felt-tip pen on chromogenic print; 9 x 12 in (22.9 x 30.5 cm).
Jamian Juliano-Villani, "Totally Home," 2018. Acrylic on canvas; 60 x 60 in (152.4 x 152.4 cm).
Deborah Kass, "EMERGENCY," 2019. Acrylic and neon on canvas; 32 1/2 x 116 in (82.5 x 294.6 cm).
Martin Kersels, "Buoy 7," 2023. Reused furniture, wood, glass, steel, fabric, candle, book, sand; 54 x 19 x 17 in (137.2 x 48.3 x 43.2 cm).
Maria Lassnig, "Prothesenselbstportraet," 2000. Oil on canvas; 49 3/16 x 39 3/8 in (125 x 100 cm). Private Collection
Asher Liftin, "Cannibal," 2023. Acrylic ink and acrylic paint on linen; 51 3/16 x 39 3/8 in (130 x 100 cm).
Paul McCarthy, "A&E, BITE FACE DICK, Santa Anita session," 2020. Pencil on paper ; Work: 48 x 36 in (121.9 x 91.4 cm) Framed: 51 1/8 x 39 1/4 in (129.9 x 99.7 cm).
Gladys Nilsson, "Gamboling," 2023. Pen, colored pencil and graphite on paper; 16 x 12 in (40.6 x 30.5 cm).
Gladys Nilsson, "Errent Field," 2022. Watercolor, gouache, and pencil on paper; 18 x 24 in (45.7 x 61 cm).
Gladys Nilsson, "Down Splash," 2022. Watercolor, gouache, and pencil on paper; 18 x 24 in (45.7 x 61 cm).
Gladys Nilsson, "Pynk Peeper," 2022. Watercolor, gouache, and pencil on paper; 10 x 14 in (25.4 x 35.6 cm).
Jim Nutt, "Loop," 1988. Acrylic on canvas, acrylic on wood frame; 28 5/8 x 23 5/8 in (72.7 x 60 cm).
Jim Nutt, "Untitled," 2008. Pencil on paper; 15 x 14 in (38.1 x 35.6 cm). Private Collection.
Woody De Othello, "Disbelief," 2023. Glazed ceramic; 64 1/2 x 21 x 14 in (163.8 x 53.3 x 35.6 cm).
Joyce Pensato, "The Original Mickey," 2018. Enamel and metallic paint on linen; 100 x 124 in (254 x 315 cm).
Lamar Peterson, "A Woman With Half a Man," 2010. Acrylic on paper; 36 x 29 1/2 in (91.4 x 74.9 cm).
Raymond Pettibon, "No Title (Wake up and...)," 2011. Ink and collage on paper; 21 1/2 x 21 1/2 in (54.6 x 54.6 cm).
Raymond Pettibon, "No Title (Ah and I've...)," 2001. Ink on paper; 17 1/2 x 12 in (44.5 x 30.5 cm).
Raymond Pettibon, "No Title (He was going...)," 1987. Ink on paper; 14 x 11 in (35.6 x 27.9 cm).
Sally Saul, "Where Were You Mom and Dad," 2023. Clay and glaze; 22 x 12 1/2 x 6 in (55.9 x 31.8 x 15.2 cm).
Dana Schutz, "The Crab," 2023. Gouache on paper; Work: 43 7/8 x 30 in (111.4 x 76.2 cm) Framed: 48 1/4 x 34 3/8 in (122.6 x 87.3 cm).
Jim Shaw, "Large Trump Chaos II," 2017. Silkscreen and acrylic on canvas; 48 x 75 in (121.9 x 190.5 cm).
Jim Shaw, "Small Trump Chaos II," 2017. Silkscreen and acrylic on canvas; 39 1/2 x 59 1/2 in (100.3 x 151.1 cm).
James Siena, "Pharynx Dentata," 2009-2010. Ink on paper; Sheet: 8 x 6 1/4 in (20.3 x 15.9 cm) Framed: 15 x 13 1/4 in (38.1 x 33.7 cm).
James Siena, "The Madness in Me, The Me in the Madness," 2015. Ink on paper, two sheets; Each: 5 13/16 x 3 3/4 in (14.8 x 9.5 cm) Overall: 5 13/16 x 7 1/2 in (14.8 x 19.1 cm) Framed: 7 1/4 x 9 1/4 in (18.4 x 23.5 cm).
Art Spiegelman, "Horse Opera Noir with Crocodile," 2023. Watercolor and ink on paper; 5 13/16 x 8 1/4 in (14.8 x 21 cm).
Art Spiegelman, "Winged Nike Has No Beanie," 2023. Watercolor and ink on paper; 8 1/4 x 11 13/16 in (21 x 30 cm).
Art Spiegelman, "Superman in the Blottosphere," 2023. Watercolor and ink on paper; 8 1/4 x 10 3/4 in (21 x 27.3 cm).
Art Spiegelman, "Dawn," 2023. Watercolor and ink on paper; 5 13/16 x 8 1/4 in (14.8 x 21 cm).
Keiichi Tanaami, "Fragment of Time," 2022. Pigmented ink, acrylic silkscreen medium, crushed glass, glitter, acrylic paint on canvas; Triptych, each panel: 80 3/8 x 39 3/8 in (204 x 100 cm) Overall: 80 3/8 x 118 1/8 in (204 x 300 cm).
Chibuike Uzoma, "A Painting w/ A Future," 2023. Oil, acrylic spray painted texts on canvas; 84 x 60 in (213.4 x 152.4 cm).
Chibuike Uzoma, "A Painting w/ A Future," 2023. Oil, acrylic spray painted texts on canvas; 84 x 60 in (213.4 x 152.4 cm).
Kara Walker, "Epoch Fail," 2020. Mixed media, cut paper, ink, ink wash and gampi paper on paper; 106 3/4 x 236 3/4 in (271.1 x 601.3 cm).
Rebecca Warren, "All that Heaven Allows," 2017. Neon, painted MDF, pompom, and wool; 20 1/2 x 11 1/2 x 2 1/2 in (52.1 x 29.2 x 6.3 cm).
John Waters, "Birth Control," 2003. 18 C-prints; Each: 5 x 7 in (12.7 x 17.8 cm) Framed: 8 1/2 x 99 3/4 x 29 3/4 in (21.6 x 253.4 x 75.6 cm).
John Waters, "Edith Has a Fit," 1996. 8 C-prints; Each: 11 x 14 in (27.9 x 35.6 cm) Framed: 16 3/4 x 118 3/4 in (42.5 x 301.6 cm).
Robert Williams, "Peripheral Bogies," 1975. Acrylic on watercolor paper ; 16 1/2 x 20 3/4 in (41.9 x 52.7 cm).
S. Clay Wilson, "Horny Dwarves Frolic With the Trollops From Town (from Snatch #3)," 1969. Ink on newsprint; 5 x 7 in (12.7 x 17.8 cm).
Karl Wirsum, "Study for Doggerel," 1966. Color pencil on paper; 14 x 11 in (35.6 x 27.9 cm).
David Wojnarowicz, "Untitled (alien mind)," 1984. Acrylic on Masonite; 48 x 48 in (121.9 x 121.9 cm).
David Wojnarowicz, "Good Morning America, Export News," 1984. Acrylic, spray and collage on paper; 53 x 75 in (134.6 x 190.5 cm).